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Post by rumbledoll on Mar 20, 2024 16:24:55 GMT
I’m in only if Jamie is reprising his part 😁
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Post by rumbledoll on Mar 19, 2024 11:11:01 GMT
Previews: £55 back of Stalls, £75 Most of Stalls, Same for Dress, Upper Circle from £25 - 45 Main run Weekdays: £65 back of Stalls, £85 Most of Stalls, Same for Dress, Upper Circle, £25 - 50 Main run Weekends: £70 Back of Stalls, £90 Most of Stalls, Same for Dress, Upper Circle, £25 - £50
Premium Tickets Excluded. Most Expenisve Champagne Ticket is in the Dress for £180 with Perks
Are they selling the front row? (Hoping for discounts afterwards, would love to see Icke’s take on this, but the trip dates are not defined for me at the moment so don’t want to book blind…)
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Post by rumbledoll on Mar 8, 2024 7:11:59 GMT
Steve, thank you so much for your thoughtful (as ever) review! Makes me wanna see it again after a couple if pages of folk walking out.. 😅
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Post by rumbledoll on Feb 22, 2024 10:25:57 GMT
Exciting! More Jez and I think Paul McGann is properly charismatic. Shame I can’t book just yet since my Autumn travel plans still need some synchronising..
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Post by rumbledoll on Feb 21, 2024 6:08:35 GMT
BTW if Kwame is stepping down they should do whatever it takes to replace him with Robert Icke. Oh wouldn’t it be quite something! I’d probably need to move to London for that I’d take Icke in any form and shape but I am not sure he would want to be an Artistic Director.. Maybe I’m wrong.
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Post by rumbledoll on Feb 17, 2024 19:57:42 GMT
Is this selling bad. Haven't been able to resell my tickets on a well known reselling website as I am not been able to arrange things so that I can go to the performance I brought for. Even at a heavy discount to what I paid for them. (My inability to be allowed to most of the shows I have brought for recently has cost me dear and is why I am only buying for subsidised theatre now where I can get a return/resale/credit easily.) I think with TT now you can add on 3 quid in order to return the ticket without any explanation 24 (or even less) hours in advance. I used this feature a couple of times and it’s handy as I am visiting UK for theatre flying in from another country and things get shifted sometimes.
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Post by rumbledoll on Feb 13, 2024 15:50:45 GMT
They won’t respond. This isn’t new for them, they always raise the prices throughout the sale. Happened with Plaza Suite, with bigger increases. Wow. Someone needs to do something about it..
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Post by rumbledoll on Feb 13, 2024 15:49:36 GMT
I just don't understand the hype for this one. And my wallet thanks me for that. My thoughts exactly. I do think Tom is a talented chap yet showcasing him as Romeo of WE stage is such a lazy choice.. Besides I don’t think I will be able to sit though another Lloyd production ever again..
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Post by rumbledoll on Feb 13, 2024 15:42:33 GMT
Oh, that’s good someone manage to screenshot that. I am wondering if ATG is going to respond.
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Post by rumbledoll on Feb 13, 2024 9:40:34 GMT
I am not that bothered was just curious about the prices and entered 5 mins ago without any queues. Most dates are red but still yellow availability for mid week. So maybe for those queuing since 8am - just try to enter anew from another device - it could work. ^I tried this on your suggestion - on the alternate device, I got put at 60,000 in the queue! So strange that the system let you slip by. What page did you enter from?
EDIT: Just saw your follow-up post above. Same result!
I just pushed the button in my email. It’s really odd this.
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Post by rumbledoll on Feb 13, 2024 9:28:10 GMT
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Post by rumbledoll on Feb 13, 2024 9:24:38 GMT
I am not that bothered was just curious about the prices and entered 5 mins ago without any queues. Most dates are red but still yellow availability for mid week. So maybe for those queuing since 8am - just try to enter anew from another device - it could work.
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Post by rumbledoll on Feb 13, 2024 9:19:29 GMT
Managed to get a rush ticket and seeing this tonight (got stalls row D for anyone wondering what seats they’re offering). Was it easy to get one?
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Post by rumbledoll on Feb 13, 2024 5:05:53 GMT
Just remembered.. Bella Ramsey front row at Ulster American the night I saw it (Jan 23).
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Post by rumbledoll on Feb 12, 2024 19:02:02 GMT
Thanks for the article. Even though it’s full of valid criticism (well, subjective we all are) and lists things that didn’t worked for a particular individuals I must strongly disagree with the idea that your experience should be identical to the one movie characters are having in order to be moved. I consider myself a straight woman growing up in the 90s in a completely different country with its own traits but I do connect to this film big time. Some themes are universal such as making a move to get out of your shell, letting your parents see the whole of you, a phrase being thrown at you 30 years ago that still haunts you and so on.
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Post by rumbledoll on Feb 7, 2024 14:55:23 GMT
Just saw that Rush tickets are now avail via TodayTix app. Fab news, good luck to all bookers!
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Post by rumbledoll on Feb 4, 2024 15:03:57 GMT
I got to see La Chimera a bit early than most in here I guess. It premiered at one of the film fests in Moscow in October. I went in blind and just loved it! The way magic realism is used (and not overused), how unworldly and down-to-earth it is at the very same time. It’s blunt and it’s tender, it’s subtle, it’s intoxicating and it’s raw. The screening ended up in a talk with some critic who invited the audience to share their interpretations. It was curious to hear what everyone made of it but me.. me who always like pondering on, overthinking and analazing to death.. strangely at that moment I didn’t want to think, I wanted to FEEL it with every cell of my body awakened to that beautiful piece of art. Just be in a moment. It’s a rare thing that film would sent me into this zen like zone.. Also I do believe Josh O’Connor is one the best of his generation. He can say so much with no need to say a word. Would be an absolute treat to see him on stage one day.
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Post by rumbledoll on Feb 3, 2024 10:40:51 GMT
Watched the firm on a quiet afternoon last week and still can’t get it out of my hand (as much as the ever haunting Always On My Mind). I found it unique in a way. The film itself is so eerie, I can’t pin down the genre even. It’s nothing I’ve seen and being slow and meditative it lures you in, crawls under your skin to stays. I cried buckets and thought that every single performance is so intuitive, so sincere. All of them ring true, sometimes too true, especially Foy’s. Gosh this woman gets me every time.. just sublime. It’s hard to express the experience of watching the film and describing how it makes you feel vocally cause it’s so much about what you perceive on subconscious level, it by-passes your brain and stings right into your very soul. I don’t think it’s an Oscar material, it doesn’t fit the mould. But not every film deserving an award really needs one. I second that thought about making it into a play. Yes please! No need to re-cast it, too
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Post by rumbledoll on Feb 3, 2024 10:21:57 GMT
Please could the five-star reviewers reveal themselves?! *raising a hand* present! I vote 5 stars only when I am swept away with emotion so much that I don’t even notice the little imperfections or a couple of lines I would have changed. It’s completely irrational, you see.
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Post by rumbledoll on Feb 2, 2024 8:26:51 GMT
My take from reading the reviews so far is - if you go in simply to enjoy the music (especially if you're the right age), you will enjoy this massively and if you pay attention to the book/story/dialogue, you end up hating this? Are the songs sung in full or just snippets? Sorry I'm asking so many questions - I'll be in London in two weeks and am still undecided whether to see this or not. I have a ticket for the Ralph Fiennes Macbeth in the Docklands which I am not sure I want to be using and might ditch for this. It WAS my time and there are people in the cast I like a lot, but I'm just not sure if it's worth the effort to change my plans at short notice. I do mostly listen to this kind of music and I am certainly not the right age I enjoyed the book as well and did not find it patronysing or offending. And it does mention that the crowd was there for the artists and not to collect for charity, and the artists were there partly because if they refused it might put a shade on their reputation (it's even joked about). Most of the time it looks like Abiola Omonua's character and Bob himself are the one ones who actually care about the dying children. But does it matter as long as the hungry get help? Does it matter how many of those 80 000 viewers grew up to be activists for change as long as at least some did? This event gave them something, if it only inspired them for a second to call and spent their pub money on this instead - that is enough. Sometimes it takes just one person to turn things round - this is exactly what it's about - you need just one person to step forward and fight for the cause enough so everyone would join - for their own reasons. I actually liked this approach - they don't say this event changed the world, but just for one day it united so many people that the hope for that change could live again. I was also curious about each individual story - sometimes the event is so big and the spotlight is given to just a few, but behind that there is hard work of many. Based on what I saw and heard to pull this whole thing off the way they did is a bit of a miracle. Maybe it's just me generally in love with the stories like this? A lot of songs are sung in full (not the Bohemian Rhapsody though).
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Post by rumbledoll on Feb 2, 2024 7:53:23 GMT
Wow. You never know which show could turn out to be as marmite as this. I personally loved it rather unconditionally (just as a couple of friends I went with) but in all honestly I enormously enjoy reading the opposite opinion, it's so enriching in a way.
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Post by rumbledoll on Jan 30, 2024 19:01:27 GMT
Saw the show during the last week and was much impressed both by the boldness of subject matter and the physicality of the performances. Loved all three can’t really choose! Even while reading the first reports (very carefully to avoid spoilers) I just knew it would be totally up my street! I love dark comedies, the darker the better and believe it’s quite an entertaining way to get the real message across. Me and my friend got ‘caught in the crossfire’ by the splash of blood all over and it took good 20 minutes to clean if off with the help of stage management.. No, I mean my dress, my tights, even my socks (I had boots on, mind you) and my coat (which was under my seat) got covered with blood that was a bit of a shock at took me out of action for a couple of second in the final scene but all part of the fun! We laughed it off and I do understand these things are extreamly hard to stage in a way that would exclude such incidents completely.
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Post by rumbledoll on Jan 30, 2024 18:49:39 GMT
Bit of a missed opp to not collect for charity on the way out though? I was almost sure they’d do a charity collection at the end.. the show screamed it. Although if I was the one making decisions I would set up a lil merchandise shop inside to sell some souvenirs (like they did for Xmas Carol) to collect for charity, t-shirts with Live Aid logo perhaps, they clearly have corresponding rights as it’s used in the show. I’d buy one!
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Post by rumbledoll on Jan 29, 2024 14:50:45 GMT
Saw one of the final performances and yes, I would not call it a musical. A beautifully told story about broken lives and shattered dreams, the burden of the past so heavy on your shoulder that even when you break free you don’t know what to do with this freedom anymore. Both leads are sympathetic even full of imperfections and to be honest you can’t call them the nicest people you meet yet the love they carry though the years cannot fail to move you.. Anya has a wonderful voice that speaks to your very soul and I’d certainly play the piano duo ‘I Do’ on repeat if they let me.. Yet another performance by Luke Thallon that make my heart ache big time. His acting is always so nuanced and so intricate, it’s a pleasure to watch and take it all in. Had a lovely chat afterward talking Shakespeare and Leopoldstadt, it’s always an inspiration to listen to someone so openly passionate about what they do. Can’t wait for that RSC version of Hamlet, even more so now!
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Post by rumbledoll on Jan 29, 2024 13:57:59 GMT
I needed some time to adapt to the headphones. In order to persuade my mind that it is indeed live and not the recording I hear I took them off completely for the first 15 mins and to be honest.. even a whisper could be heard in the Circle so tiny this place is. I put them back on as I thought oh well it was intended this way.. but still not entirely sure it was all that necessary. I found this quite a disappointment, more of style over substance. The monochrome design is beautiful and the more affecting in the very final scene when the colour suddenly pops up. Apart from the porter (he should have cut his act at least in half, it was amusing but stopped being funny after 2 minutes or so) I found this a traditional version, no big findings or revelations (unlike the other Macbeths I have seen, e.g. John Heffernan’s character in YV production clearly having PTSD or Saoirse Ronnan’s Lady M present for MacDuff’s family being murdered). I also loved the Almeida’s take on the final image, much darker and fitting, as if to say the bloodbath will go on and on, with other faces showing the same ambition, as long as there’s such thing as power. Here the garden growing makes it too cheerful and out of logic. Solid performances snd s nice try, but will I remember it come summer? Probably not.
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Post by rumbledoll on Jan 29, 2024 13:44:24 GMT
One comment about the sound at the first night. Maybe it was just me but some of the lines spoken a casual dialogue were not clearly heard from where I was sitting in Stalls D21. I know I’m not a native speaker, but I have a lot of experience listening to Northern dialect so I can’t blame it on that.. never had the same issue in this particular theatre before so it makes me wondering if this was technical or it’s just me getting old
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Post by rumbledoll on Jan 29, 2024 11:07:35 GMT
I wasn’t even born (in a country 2500 miles away) when Live Aid ‘85 happened but I loved the show! So I don’t believe it comes down to age.. I was with two friends who, being older, remember the day and exact place where they were listening or watching. I only got to see the recorded version about 15 years ago but it had a tremendous effect on me and needless to say I dig this kind if music much more than contemporary stuff. It was pretty emotional.. I cried a lot, wanted to sing in full voice and jump off my seat more times than I could count. And I can’t wait to hear that version of Blowing in the wind again! I found the whole thing endlessly inspiring and getting to know how it came about was much more entertaining than reading Wikipedia. The actor playing Geldof really impressed me with how well he did the mannerism and phasing of the famous lines. Mrs. T/Mr.G battling duo was hilarious!
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Post by rumbledoll on Jan 27, 2024 22:51:20 GMT
Also there are two intervals (so it’s a proper III Act play) and it didn’t feel long. An earlier start time helps as well.
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Post by rumbledoll on Jan 27, 2024 22:42:41 GMT
I loved it tonight! Nothing grips you by the throat just as much as Jez’s plays.. the revolve is there for a reason and works perfectly for dividing scenes in time and actors movement. The cast is excellent all around but the young girls were the highlight! I like a bit of song and dance too, so to have that joy in a play that shade of dark is really rewarding. I guess this show will trigger some more than the others and on different levels, I related to it as a sister myself.
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Post by rumbledoll on Jan 17, 2024 6:26:28 GMT
Interesting casting. In Russia I believe the play is usually presented as far more of a comedy than it is in the usual UK wistful production. It would be interesting to see it done in that way. Steve Carrell recently played the role in USA. The funny thing is here in Russia the play is usually presented as high drama with all the humour being sucked out of it... Much like other Chekov. British versions always struck me as a good balance between laughs and seriousness that's why I enjoy them more. Checkov intended his plays to be funny, it's not in the text per se, it's more subtle, it's written all over in betwen the lines.
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