14 posts
|
Post by loopyjohn on Mar 21, 2024 11:33:27 GMT
Another thumbs up for the midweek matinee and the wonders of dynamic pricing. Last week I bought a ticket near the end of stalls row L for £40 on the morning of the show. At some evening shows the adjacent seat is on sale for a crazy £249.
|
|
14 posts
|
Post by loopyjohn on Mar 6, 2018 14:30:36 GMT
Quite apart from all the above, one minute Berna was in a high-rise glass tower, she started walking down a glass staircase and, by the time she reached the bottom, she was in a low-rise brick building on a cul-de-sac. Pretty sure it's Osborne Water Tower House, near Elephant & Castle. It featured on Grand Designs a few years ago. The owners tried to sell up a while back but now seem to be making some cash from renting on Airbnb (https://www.airbnb.co.uk/rooms/7334895) and using it as a location. Spotting locations made up for the lack of drama. I'm sure a few on the board will have recognised the pizza shop as the fast food joint under the railway arches, just opposite the Menier Chocolate Factory.
|
|
14 posts
|
Post by loopyjohn on Dec 14, 2017 14:42:31 GMT
Sorry - my clumsy wording. I wasn't trying to say the way it depicts life in the camp is inaccurate. As the writers have spent a while living there, I assume it is drawn from their real life experiences and therefore pretty accurate. My main beef is with how one-sided the whole thing is.
|
|
14 posts
|
Post by loopyjohn on Dec 14, 2017 14:09:23 GMT
Caught the matinee yesterday. It is another radical transformation of the YV space which has seriously slashed the capacity, in return for offering an immersive experience. Most of the action takes place on a narrow cruciform stage. It reminded me of some of the more radical designs in the RC Upstairs space.
I found it well-staged and well-acted. It is strong at depicting life in the Jungle, the struggles of the different nationalities who are forced to live side-by-side, and the journey some have had to reach the Jungle. The two writers (Joe Robertson & Joe Murphy) are joint artistic directors of Good Chance Theatre, a group which works with refugees and had a theatre in the Jungle. With this background, you would expect an accurate depiction of life in the camp. Sadly, this comes with a staggeringly one-sided view of the issues which is repeatedly rammed home over the course of almost 2 3/4hrs. It leaves the audience in no doubt of how the writers feel about the French authorities or the UK government. Those looking for a more balanced view of the issues on what is an important political and humanitarian topic will be left disappointed.
|
|
14 posts
|
Post by loopyjohn on Mar 31, 2017 13:32:01 GMT
Sat in the front row last night and they are great seats - especially for £15. Do not be put off by the warning on the NT site about needing to look up - the stage isn't high at all. There were a few other hazards the NT site didn't warn about - a prop flying through the air (intended) and a near encounter with Ben Chaplin during a moment of stage violence but some people would be fighting for the seats if they knew about that...
Great cast - and worth seeing just for them - but I didn't really care for the play.
|
|
14 posts
|
Post by loopyjohn on Sept 5, 2016 10:29:41 GMT
|
|
14 posts
|
Post by loopyjohn on Mar 23, 2016 13:00:59 GMT
I saw this at the NT last year and returned at the weekend for a second viewing in one of the £15 on stage seats. As everyone has said, those seats are amazing value with one small caveat - the first scene is played behind a scrim so you don't see an awful lot. Not sure if the main auditorium watch that scene without the scrim. I don't remember it being like that at the NT. Enjoyed Denise Gough's performance over again. She fully deserves the praise. But - seeing the play for a second time I was less blinded by the flashier Headlong antics and could concentrate more on the play. I have to agree with the dissenters - it has some strong scenes (especially the opening few scenes and much of Act 2) but the last half of Act 1 feels awfully flabby. I feel this would make a much stronger one act play.
|
|
14 posts
|
Post by loopyjohn on Mar 15, 2016 10:33:17 GMT
Maybe he was too distracted thinking up more ghastly merchandise to slap his and Terri Whatsonit's face on for his website to concentrate properly on the show. I thought you were joking until I had a look. mytheatremates.com/merchandise/I can't think of anyone I dislike enough to buy them one of those mugs!
|
|
14 posts
|
Post by loopyjohn on Mar 9, 2016 9:36:25 GMT
Really enjoyed this last night. Nice to see a fresh, fun, new show. I wasn't sure what to expect but this feels like an old school musical comedy - in a good way - which never takes itself too seriously. The real life events that the show draws inspiration from are stranger than fiction. No puppet for Simon Lipkin this time.
|
|
14 posts
|
Post by loopyjohn on Feb 28, 2016 12:01:57 GMT
What do you reckon is the smallest Theatre this show could work in? I've wondered about that too. I can't see any reason why this piece couldn't be staged in a small theatre, even a fringe space. It's a love triangle with many scenes involving a small number of actors. Productions so far have used a large ensemble (a bit less on tour) to give some scale to the bigger scenes - bar, This is the Hour, nightmare scene and so on. But that could all be scaled back. The piece might even benefit from it. I know the last helicopter leaving is an important historical point, but there's no reason we have to see the helicopter. Sound & light can sometimes do a better job of creating an image in the mind. The Watermill has done a great job of tackling shows that have played big theatres - Sunset, Martin Guerre, Witches of Eastwick. I'm not sure I'm ready for the actor-musician version of Miss Saigon just yet, but I can see a small theatre tackling it some day.
|
|
14 posts
|
Post by loopyjohn on Feb 18, 2016 11:25:00 GMT
Have been to quite a few cabaret thingies that run around the 75 min mark, but no with an interval! I understand Julie has a 4 piece band and guests for this run. Sounds like a lot of effort for such a short performance.
I went to a launch of Julie's second album a few years ago. It was a paid ticketed event, not a freebie promo. It lasted around 45mins straight through. She performed (beautifully) the tracks in order and that was it. I did feel more than a bit short changed that night!
|
|
14 posts
|
Post by loopyjohn on Feb 17, 2016 17:59:16 GMT
In addition to introducing allocated seating, as announced, Southwark Playhouse have apparently also changed another part of the booking process, but without (so far) publicising it: PAYG tix can no longer be booked online. At least this is what they told me when I rang because I was having trouble booking online with PAYG. Seems like you can do it now. Log in first and add a seat to your basket (at normal price). A later "discounts" page will ask if you want to apply one of your PAYGs. So glad this venue has finally moved to allocated seating!
|
|
14 posts
|
Post by loopyjohn on Feb 4, 2016 15:46:55 GMT
Also saw it last night. Definitely an uneven show for me too. I thought Rachel Anne Rayham was mightily impressive as Young Little Edie. Her scenes were my highlight in act 1. Always a joy to watch Jenna Russell, especially in a venue that size when she seems to be singing right at you (thanks Xander1 for the seating advice!) She moves effortlessly from comedy to that tear-jerking 11 o'clock number.
I see it ran for around 8 months on Broadway in a house seating just under 1,000. It got me thinking if a show like that would stand half a chance in the WE in a house that size in today's climate?
|
|
14 posts
|
Post by loopyjohn on Jan 30, 2016 12:23:15 GMT
Old Vic has had the most horribly pretentious posh audience. So, not just me who was irritated by the audience then. As I left the theatre I was roughly pushed aside by a posh couple eager to make their way back to Waterloo. Sadly class doesn't always come with manners. Matthew Marchus may be keen to attract a new audience to this theatre, but it's going to take a while. This is the first (only?) play to pack 'em in under his new reign and - surprise, surprise - it's exactly the kind of production - classic play with a starry name in the cast - which the "old" Old Vic audience loves. I think my issues were more with the play (or David Hare's adaptation?) than the cast. But I haven't seen The Master Builder before so I've nothing to compare it to. Ralph Fiennes has a strong stage presence, and no problem hearing his every word. I hate the cramped FoH areas of this theatre. And it is a downright awful theatre to go for a wee, especially if you are a lady.
|
|