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Post by partytentdown on May 13, 2019 18:34:44 GMT
Slightly random but I have one ticket for Thursday I'd love to swap for another night. It was from TodayTix so I can't change it. I'll keep it if there's no other option, but if I can swap it I'd be happy. Please send me a message if anyone wants to swap!
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Post by partytentdown on May 13, 2019 11:07:27 GMT
Hi, hope it's ok to mention here, I have two tickets to this on Wednesday which I can't use, see noticeboard!
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Post by partytentdown on May 11, 2019 8:50:36 GMT
Imagine how many times those poor casting people will have to hear 'Let it Go'.
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Post by partytentdown on May 9, 2019 7:10:18 GMT
There is an ad in today's papers saying 'Happy 9/5 Day, 300000 tickets released'
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Post by partytentdown on May 5, 2019 8:26:09 GMT
I’m assuming you are talking about the play? ATG website is saying approx 2hrs 20 incl. interval. Thanks
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Post by partytentdown on May 4, 2019 21:10:55 GMT
How long is it please?
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Post by partytentdown on May 3, 2019 12:46:30 GMT
Wasn't there a recent UK tour but with a different actor? I remember the tickets for that being mega cheap.
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Post by partytentdown on May 3, 2019 8:16:51 GMT
I wonder how many of those who've paid silly money actually know what they've booked for. I bet there's a fair few who think they are seeing TV's Fleabag on stage - and will be expecting a full cast (complete with Olivia Coleman and Andrew Scott) and a two act play with set and costumes. Ah well - I'm sure they'll enjoy their £2 a minute monologue - and the chair and rug are lovely - and they match her jumper. In all fairness great writing and acting really is difficult to put a price on (I mean it's still cheaper than Man of La Mancha) - and this is writing and acting of the highest standard. It looks as though in addition to the standing which has already been mentioned - 33 Front row and box seats will be on sale for £20 via lottery at the theatre daily. There aren't even any side-glances in it!
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Post by partytentdown on May 1, 2019 15:52:23 GMT
Well I'm here again, in the circle for the first time and it's very uncomfortable compared to the stalls! Welcome to Skid Row!
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Post by partytentdown on May 1, 2019 12:55:40 GMT
Anyone know any more about the BBC scheduling for this?
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Post by partytentdown on Apr 30, 2019 19:36:47 GMT
Could it not be argued then that shows like Home I'm Darling, The Jungle etc shouldn't get nominated because their commercial West End runs were effectively subsidised by their creation in subsidised venues? Not in the same way, I'd imagine. The difference being those shows were mounted by UK venues for production in the UK, Hadestown was tried out in the UK to run properly in the US, as such the Society of London Theatre aren't likely to look upon Hadestown well. They brought their cast and creatives over and shipped them back off, there was very little to benefit the UK's theatre industry as a result, hence the deliberate snub. I see what you mean - but I think that's rather petty. It gave a big British crew and some British performers work for a long season (and let it be noted that the ensemble cast was brilliantly diverse in terms of ethnicity and body type) and gave thousands of audience members the chance to see an interesting Broadway show that the majority would never usually have had the chance to see. It's not like the NT co-produced a Broadway tryout of something tacky and cheesy, to me this was an interesting, artistic, intelligently crafted show that felt like it belonged at the NT irrespective of its final destination.
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Post by partytentdown on Apr 30, 2019 17:03:01 GMT
Could it not be argued then that shows like Home I'm Darling, The Jungle etc shouldn't get nominated because their commercial West End runs were effectively subsidised by their creation in subsidised venues?
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Post by partytentdown on Apr 23, 2019 17:48:12 GMT
All seems rather sudden!
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Post by partytentdown on Apr 23, 2019 15:48:10 GMT
According to their Twitter, Courtney Reid (the Broadway Princess Jasmine) is joining the cast today
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Post by partytentdown on Apr 22, 2019 18:47:31 GMT
It's this sort of thing that frustrates me about theatre sometimes. Why should the audience have to 'get' some niche reference for a show to make sense? Why are the creatives patting themselves on the back because one person (as far as I can see) cracked the clues to understand their concept? Shouldn't everyone who sees the play be allowed to 'get it'? Weird. You don't have to 'get' it, although I think that Warhol's influence on popular culture remains pretty strong and won't be missed by many or has he really fallen out of favour? Directors deal on different layers of understanding (mostly). At face value you can see that this is a sixties pop art influenced design and that the style is deliberately rough and improvised, so not many would miss that. Beyond that then the images of dancing Warhols will be recognised by fewer and knowing Edie Sedgwick or the very specifics of the Factory and Exploding Plastic Inevitable by fewer than that. It works at face value to pretty much everyone then, yet it has further depth for those who look for it. It's no different to most art, where you aim at different levels of understanding. I certainly wouldn't want art to be aimed at the entry level all of the time. Thing is, I have a basic knowledge of Warhol and pop art but other than twigging that there were lots of dancing Warhols I didn't get any of the rest of the things you mention so the design made no sense, looked cheap and didn't seem to tie in to the rest of the story. Maybe I'm a bit thick.
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Post by partytentdown on Apr 22, 2019 17:37:46 GMT
It's this sort of thing that frustrates me about theatre sometimes. Why should the audience have to 'get' some niche reference for a show to make sense? Why are the creatives patting themselves on the back because one person (as far as I can see) cracked the clues to understand their concept? Shouldn't everyone who sees the play be allowed to 'get it'?
Weird.
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Post by partytentdown on Apr 22, 2019 8:09:23 GMT
It's 2 years since Emma Rice left the Globe, I've just been rereading those very open letters written by her and Dominic Dromgoole www.bbc.co.uk/news/amp/entertainment-arts-39645975. I'm interested to know if people think 'the wounds have healed', has the organisation recovered or will it be forever be scarred by this drama?
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Post by partytentdown on Apr 17, 2019 19:50:32 GMT
I really hope they've improved those cut out letters
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Post by partytentdown on Apr 17, 2019 14:59:28 GMT
The more I think about this the more I dislike it. I'm very selective about what I try and get tickets for at the Donmar, it's one of my favourite venues and I'm rarely disappointed. But I'm sorry too say this was my worst experience there. I'm intrigued to see the reviews.
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Post by partytentdown on Apr 13, 2019 7:40:10 GMT
I didn't like it and I thought it looked like they'd run out of budget. The set and costumes (with all due respect to am-dram) had a very generic am-dram look about them.
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Post by partytentdown on Apr 7, 2019 23:04:07 GMT
Sadly don't think that was the best performance to show it off, unfortunately.
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Post by partytentdown on Apr 7, 2019 20:55:04 GMT
When you're nominated for an Olivier Award but you don't win so you leave at the interval...!
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Post by partytentdown on Apr 6, 2019 16:59:27 GMT
Groundhog Day's failure to transfer so far is a strange one. I seem to recall an announcement that Sonia Friedman had established a partnership with the Old Vic with first dibs on transfers and so forth but nothing seems to have come of that. It lost a shed load of money on Broadway so it's not that surprising there is a lack of interest in opening it in London.
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Post by partytentdown on Apr 3, 2019 7:28:17 GMT
I vaguely remember hearing 'Lord of the Rings' was the biggest financial loss but that may have been surpassed by now!
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Post by partytentdown on Apr 1, 2019 18:38:34 GMT
I wonder why it attracts such shows, is it just too big?
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Post by partytentdown on Mar 30, 2019 20:33:20 GMT
Does anyone remember The Umbrellas of Cherbourg?
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Post by partytentdown on Mar 30, 2019 10:16:34 GMT
I enjoyed that Taboo revival a few years back in Brixton but never saw the original. I know there were huge issues with it on Broadway.
Anyone got any tales?
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Post by partytentdown on Mar 29, 2019 12:04:42 GMT
I got a TodayTix rush seat last night, it was on the very edge of a row in the Grand Circle. Decent view but very limited leg room as there was a railing right in front of me.
Had never seen the show, enjoyed it although the first half is very long.
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Post by partytentdown on Mar 28, 2019 13:25:39 GMT
What I remember was that "Daddy Cool" was supposed to open in May, ended up opening in September and was gone a few weeks later. Vague memory of Michelle Collins being in it?
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Post by partytentdown on Mar 27, 2019 16:26:26 GMT
Oh, ok. Sure!
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