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Post by orchidman on Sept 17, 2017 14:53:50 GMT
It is really a study of madness, which is something I tend to find pretty tedious and this lacks any real plot or drama. For a play about a playwright, I was expecting more insight into Strindberg than I felt was there.
Jasper Britton didn't have the charisma I felt was required and because of that I was never really sold on it, although maybe there just wasn't enough good material in the script for him to work with.
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Post by orchidman on Sept 11, 2017 19:56:04 GMT
Heh. So, Twitter is telling me that Riz Ahmed was there last night and Edith Bowman is going on Wednesday. Do you think they got their tickets through the ballot?! In the same way reviewers have a good chance to get tickets if their newspaper makes everybody enter the draw and take the critic as their +1 if successful, imagine how many people might be acquaintances of celebrities who would invite them as their +1 for the chance to spend time with said celebrity.
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Post by orchidman on Aug 22, 2017 0:01:59 GMT
Unfortunately looks like that only works if they sent you an email invitation.
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Post by orchidman on Aug 1, 2017 23:30:21 GMT
It annoys me in general when big stars appear in venues that are too small for the demand which excludes non-members, the noncognoscenti, and non-theatre goers who might otherwise take a punt on a new experience but to call this a fundraiser and then restrict it to 160 tickets per performance is taking the piss. And I'm not even bothered about seeing Tom Hiddleston so it's not sour grapes.
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Post by orchidman on Jul 21, 2017 1:28:14 GMT
Feel like this has benefited in the reviews by the classic journalist bias for stories about journalism. It's fine but I don't think it ever really comes together. The novel Then We Came To The End by Joshua Ferris covers very similar ground and this is pedestrian by comparison.
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Post by orchidman on Jul 12, 2017 0:33:35 GMT
Good Taylor Swift lookalike in the ensemble:
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Post by orchidman on Jun 30, 2017 18:21:41 GMT
For Network and Follies I avoided the morning scrum and bought good tickets in the afternoon with no queue. Admittedly I don't mind waiting until late in the run but unless you absolutely must get certain tickets on certain days, I don't know why you would bother with the morning rush outside of something like Angels in America where you could sense the demand was very high.
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Post by orchidman on Jun 8, 2017 23:13:34 GMT
It also looked as though people had booked the cheaper (side stalls) seats first, leaving gaps in the more expensive central stalls only. Having booked tickets on their website recently, I think it's that there are two prices, Cat A and Cat B and the Cat B tickets are shaded, which I interpreted as them being sold and unavailable, but actually it is just weird colour-coding.
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Post by orchidman on May 15, 2017 23:10:29 GMT
Farinelli and the King is a very average play, I certainly wouldn't make a big effort to see it. Written by Rylance's wife and without that connection I would have to doubt that it would have made it to the West End let alone Broadway.
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Post by orchidman on Apr 3, 2017 22:56:18 GMT
There was a scene in the second half with the couple where Best's character was trying to act serious, and failed. Now, we might not be talking about the same thing given we saw the show on different nights, but I wouldn't call that corpsing because she didn't break character.
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Post by orchidman on Mar 22, 2017 0:30:47 GMT
I have a spare ticket for Love in Idleness next Thursday 23rd, due to a friend being unable to come. It's seat C3 and cost £32.50, if anyone is interested. I'd be happy to pay that if it's still going, probably unlikely at this stage though, I imagine.
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Post by orchidman on Feb 21, 2017 23:27:34 GMT
Helen Mirren (Gielgud Theatre) and Kristin Scott Thomas (Apollo).
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