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Post by ncbears on Mar 7, 2017 4:22:28 GMT
I don't want to be too snarky or too much of a grammar police officer or to cue Henry Higgins - but the phrase is "should have" not "should of." You can contract "should have" to "should've" if you want to keep the phonetics. Next?
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Post by ncbears on Mar 6, 2017 14:42:51 GMT
I'm struck by the dearth of nominations for actors in productions of new plays and musicals.
I could be wrong about my count. The 4 nominees for Best Actress are all in revivals. 3 of 4 Best Actor nominees are from revivals. 2 of 4 Best Supporting Actress nominees are from revivals (lumping the Ladies of Succor into one). 3 of 4 Best Supporting Actor nominees are from revivals. Best Actress in a Musical - well, The Girls is new and Dreamsgirls/Funny Girl are "new" to London but are not exactly "new" shows, so is that only 1 of 4 from revivals or 3 of 4? 2 of 4 Best Actor in a Musical nominees are in revivals. 3 of 4 Best Actress in Supporting Role in a Musical are in revivals. And 2 of 4 (or maybe 3 of 4 depending on how you count Dreamgirls) Best Actor in Supporting Role in a Musical are in a revival.
Looks to me like 10 (or 13) of the 32 nominations are from productions of new plays and musicals and 22 (or 21) are for roles in shows that have been previously produced.
I've not compared this to prior years. But, it seems like the Oliviers are celebrating roles more than performances? This is not to take away from today's actors tackling great roles and doing great work. It just may be the case that they just don't write them like they used to.
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Post by ncbears on Mar 2, 2017 0:22:00 GMT
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Post by ncbears on Feb 20, 2017 16:33:25 GMT
Some friends are headed to London and asked about seeing The Mousetrap - and after giving them all the reasons stated here (history, the theatre itself), they wanted to know about discount tickets. When we went in 2014, I know we got some slightly discounted tickets, but for the life of me, I can't recall whether that was asking nicely at the box office or at a ticket booth. Other than day seats, is anyone aware of current deals? (Did not find any on theatremonkey's site)
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Post by ncbears on Feb 15, 2017 1:51:39 GMT
The New York Post's theatre gossip wrote a piece about non-musicals on Broadway having weak sales before they open. He picked on The Play That Goes Wrong. Mischief Theatre responded in their own inimitable fashion. nyp.st/2l5DohM
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Post by ncbears on Feb 2, 2017 17:32:18 GMT
I see this will be screened on 7 February, again. How was the cinema broadcast? It's coming to the States in March - although not yet close to my locale.
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Post by ncbears on Feb 2, 2017 16:48:02 GMT
I just think it's a cheap and lazy gag, and when I've seen it in production, it's never done anything for the production beside produce a weak laugh for about four seconds. You see enough Hamlets, you develop firm preferences for ALL sorts of directorial and/or casting decisions. True. But, in school, our instructor was giving a "compare and contrast character" essay exam to multiple classes. Compare and contrast Ophelia and Gertrude. Hamlet and Laertes and Fortinbras. We were concerned our class as going to be given "compare and contrast Rosencrantz and Guildenstern".
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Post by ncbears on Jan 31, 2017 5:01:53 GMT
My first thought was Ellen in Miss Saigon. The audience hates her before she does anything wrong. She is in a horrible situation through no fault of her own with nothing but bad choices. (Ok.I don't like her final choice about Kim and Tam - but it is understandable) And the poor actor bears the audience's reaction. Simply tragic. Ok - no character arc and she doesn't die - so I guess that disqualifies her!
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Post by ncbears on Jan 28, 2017 4:45:45 GMT
A modest suggestion for a song in the pub:
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Post by ncbears on Jan 27, 2017 3:21:54 GMT
Reminder: before you go and buy extra tickets, make sure you don't go over the limit for the booking period or they will cancel ALL the tickets, including the ones you currently have.
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Post by ncbears on Jan 19, 2017 15:10:38 GMT
Any chance y'all would livestream/FacebookLive the meet-up?
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Post by ncbears on Jan 19, 2017 4:09:29 GMT
Of course it depends more on the theatre than it does on the show but I would say that Hamilton is staged and blocked really well for people at the front and/or at the sides. I sat second row right at the end and it was a great view and experience. I didn't miss anything from being that close and not much from being at the sides. Yes, you do miss out on the incredible lighting (which I saw from the circle another time) but there are pros and cons to both. I would say the dress circle is great for getting the whole picture and absorbing things and front stalls are great for the incredible atmosphere and energy. Songs like 'One Last Time' had almost no impact on me when I sat in the circle but from second row was unbelievably effective. And 'Guns and Ships' is unreal from that close too. It does depend on the theatre and the rebuild. Note - there are two revolves - not one. I think the height depends on how high Mackintosh wants the stage to be after Hamilton closes. I sat fifth row aisle in Chicago and I sat on a cushion and could not see much of the floor. But, then, I was more interested in the faces. So, you may miss some things on the floor that close - you don't get the full effect of the revolves - but the floor lighting effects are not as essential as they were for Curious Incident. BTW, I sat next to the lighting programmer (it was the fifth performance in Chicago and he was still fixing things) and it was his first time that close. We had a lovely chat about some of the lighting effects and cues. He very much enjoyed the show from our seats - he took few notes but included one of my notes - He also really liked being up in the "balcony." He has been with the show since its off-broadway run.And he'll be heading to London to get the lights set there, with the experience of setting up the show in multiple locations. He told me he would be headed to London before he went to set up the show in San Francisco to check things out and pre-plan, so he's likely been there already.
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Post by ncbears on Jan 15, 2017 1:18:50 GMT
Don't know how the refurbished theatre will look - but one word of warning based on the Chicago show. Hamilton has two revolves - and so the stage may be higher than "normal". To get the full effect of the revolves and the lighting effects on the floor, you need to be back and higher (akin to Curious Incident in some ways). So, they are either building the stage higher to start with (because Hamilton won't play there forever, most likely) OR the base stage will be one height and the revolves added on top, making those in the first few rows definitely will have neck strain.
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Post by ncbears on Jan 8, 2017 18:49:00 GMT
It's a film, now.
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Post by ncbears on Jan 8, 2017 16:26:53 GMT
I was able to watch this in the US even as the BBC website police have been pretty good at tracking down uploaded copies and taking them down. I was amused by most of it - although some of it went to the excesses I did not like in The Comedy About A Bank Robbery. I agree that farce doesn't translate as well to television. The immediacy and intimacy of the lunacy and "danger" is lessened. The camera also limits and focuses your view. I think I would have enjoyed it more in the theatre. But I'm very happy Mischief and the BBC did film this version and show it and I'm glad I was able to see it. I have friends and colleagues who have also been able to watch it here in the States - and they found it hysterical.
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Post by ncbears on Dec 19, 2016 16:18:29 GMT
In Brazil, the audience sang-a-long to Myra Ruiz' final "Defying Gravity" - especially at 5:10 Another view from a bit further away: Think I would genuinely leave the show if that happened to something I was watching. Do people realise that there is a difference between a concert and a piece of theatre In answer to your question: apparently not! (Although it was a "final" performance which no doubt led to the sing-a-long). I do feel for the people for whom this was their first time seeing the show.
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Post by ncbears on Dec 19, 2016 15:05:23 GMT
In Brazil, the audience sang-a-long to Myra Ruiz' final "Defying Gravity" - especially at 5:10
Another view from a bit further away:
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Post by ncbears on Dec 17, 2016 4:43:14 GMT
Floating this... per The Matthew's excellent reminder
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Post by ncbears on Dec 15, 2016 20:37:30 GMT
She's doing a film with Viola Davies after Color Purple ends. I actually saw Color Purple last night. It was very well done, but for some reason I did not get that throat lump that I got when I saw at the Menier. But overall very slick, and the cast in top form with great singing. I was there that evening (December 7) as well. There was a UK gentleman seated in front of me with his cousin. I got a little teary - but not exceptional. I probably admired the production more than felt the story. But, I am beyond thrilled that I got to see Ms. Erivo just claim this role - nail this role - such that I don't think I'll ever think of it without thinking of her portrayal (even if I thought the standing ovation for the 11 O'Clock number was a bit much)
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Post by ncbears on Dec 1, 2016 15:52:19 GMT
Yes, thank you so much TM. I vividly recall a box office person scoffing at me as I checked the Monkey at the window before purchasing a seat - but not disputing your opinions! Your fame goes far and wide.
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Post by ncbears on Dec 1, 2016 4:37:49 GMT
Looking for comments from any Theatreboard member who saw the first show?
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Post by ncbears on Nov 18, 2016 5:45:05 GMT
Spamalot changed "You Won't Succeed on Broadway If You Don't Have Any Jews" to "Star Song" in the UK with lots of changed lyrics
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Post by ncbears on Nov 18, 2016 5:39:00 GMT
but Thriller goes on and on and on
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Post by ncbears on Nov 7, 2016 17:06:36 GMT
Two revivals about performers - not necessarily musical theatre: Gypsy Funny Girl
Moby Dick (?) "hey kids, lets put on a show and save the school"
Two that I don't know if ever staged in the UK: George M! Sugar Babies (about vaudeville) more of a revue
And waiting on Mischief's "The Musical That Goes Wrong"
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Post by ncbears on Oct 29, 2016 16:33:32 GMT
Which are your favorite stories of ghosts in theatres? I am partial to tales of the Man in Grey "helping" actors by pushing them into place on stage? I understand the ghost is considered a good luck charm if it appears on opening night. Is there an actual record of opening night appearances? And should a producer close a show if the Man in Grey fails to appear?
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Post by ncbears on Oct 10, 2016 22:08:42 GMT
Well, that was...uninspiring. Too much cutesyness - not enough performing. Love Sierra - and loved her singing in French. Loved the final note from The Phantom about the production. But, otherwise....meh.
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Post by ncbears on Oct 10, 2016 22:02:42 GMT
The Christine Sing Off - did they do the last note live?
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Post by ncbears on Oct 10, 2016 21:45:29 GMT
Jokes about a sequel....
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Post by ncbears on Oct 10, 2016 21:42:39 GMT
Andrew: simple set Cameron: Expensive
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Post by ncbears on Oct 10, 2016 21:27:06 GMT
It is now 10:26. Still no Facebook video - just promises that the wait will be worth it.
It is two minutes later - and we are getting some sound! Anticipation is building.
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