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Post by schuttep on Nov 9, 2016 8:57:01 GMT
The difficulty - as DE has himself said - is getting the rights to the shows he wants. Shows that one director wants are often optioned to another director who wants it for a similar reason and others just have to wait until the rights become free again.
So, although he will want to make his first season the best it can be, there will inevitably be compromises while shows he would have staged immediately will have to wait. And there will be a balance among the shows he is presenting (or a theme, or a school text etc) to maximise attendance.
So we'll have to wait until he's ready to share his ideas. Today particularly will not be the day to announce major theatre news as the US election results will drown out everything else.
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Post by schuttep on Nov 6, 2016 11:57:22 GMT
I saw this yesterday afternoon and loved it.
Can't say how this would work as a big, blousy, Broadway show but this production in the Southwark Large space was perfectly pitched.
The staging was excellent (I understand others' views about the boxes but they were used to clever effect at the end when the mirrors on the underside of the lids were positioned to face the audience for us to take a good look at ourselves).
The piece was acted and sung beautifully and, quite honestly was a highlight of the year for me. I hope the Southwark continues to bring in these Broadway shows that never transferred at the time.
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Post by schuttep on Nov 5, 2016 10:39:06 GMT
I will definately head back to this before we say Goodbye to The Side Show. In that case in case you're not aware of it, quick plug for the Southwark Pay as You Go scheme - 5 tickets for £60 which never expire so you can use them whenever you want. Sometimes they restrict use for the last couple of weeks of popular shows but they've not announced any restriction for Side Show. southwarkplayhouse.co.uk/your-visit/payg/I agree the PAYG membership is a steal. Just bought another package and booked for The Life.
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Post by schuttep on Oct 27, 2016 9:47:22 GMT
I thought Shirley Valentine was a major tour with Jodie Prenger. Is the Bath version different?
Superstar is being staged again prior to a tour.
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Post by schuttep on Oct 27, 2016 9:40:44 GMT
Sorry to appear tight but any booking website asking me to donate to ANYthing gets a firm "no". I'm supporting the theatre by patronising it. I think asking for charitable donations as you're buying your rather expensive tickets is a bloody cheek. I'm not aware that the Theatre Restoration fee is voluntary. If donations are voluntary, I say no because I go to the theatre 100 times a year and spend enough, but this levy is often just printed at the bottom of the ticket after you receive it. Some theatre owners do do restoration work, though - I'm looking at you Nimax and Delfont Mackintosh - and I guess restoration is not a once and for all thing: it's ongoing. for example, decorating bars, updating toilets etc. So that's why it's a regular charge. And it's transparent to the extent that they haven't included it in the price of the ticket.
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Post by schuttep on Oct 26, 2016 19:02:43 GMT
I was under the impression that the Globe's raison d'être was to investigate the ways that Shakespeare's plays could have/would have been produced in a theatre as near to his as was possible with the information we have. If that changes - and I'm not saying that it shouldn't - then what is the real point of having a theatre space as near to Shakespeare's vision as we can make it?
That's not to say (and I agree with the philosopher AC Grayling on this point) that the plays should be preserved in aspic as I believe that doesn't do justice to Shakespeare's genius. It's precisely because directors can breathe new life into Shakespeare that Shakespeare survives and is relevant for every generation.
The dichotomy is reconciling my first paragraph point with my second.
Emma Rice seems to have failed to do this. I''m not sure there's any shame in this either for her or the Board in appointing her. Mark Rylance (that well known advocate of Shakespeare not being the author of the plays) managed it, as did Dominic Dromgoole. But I can't see there's a magic formula to be able do so.
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Post by schuttep on Oct 17, 2016 9:19:25 GMT
I agree with all the tributes to the exceptionally talented Jean Alexander.
She was once in the 1980s in a Birmingham shopping centre signing photos for charity. It was the best £5 I ever spent - a signed photo of Jean as Hilda Ogden. Priceless!
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Post by schuttep on Oct 6, 2016 10:48:33 GMT
The Mousetrap comes to mind but I imagine only the end of the world will end it, The Woman in Black, I would also close and replace it with a new play like The Humans I would like to see Curious Incident move or close as the Gielgud is a great theatre and best suited for new shows and not a long runner. I'd replace it with Waitress For one shocking minute I thought I'd read you'd replace Curious with a Waitrose! I agree with Woman in Black. OK to see once but it's really not scary. The one scary moment is due to the shriek they employ. And I love Shakespeare but where's the Shakespeare long-runner?
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Post by schuttep on Oct 6, 2016 10:43:51 GMT
I thought this was pretty generic and cliched, with some inconsistent acting. I might be biased because Park has hands down the rudest, most unhelpful staff I've ever encountered. I couldn't disagree with you more. I was there on 24 September to see the Roundabout and the staff were great. The playtext (programme) seller brought one to me instead of me having to go to him. And the young lady behind the bar was serving me the minute I reached the counter. Seeing The Boys on 22 October and, having seen it before I know it's dated, but it's a seminal gay play that's still very funny.
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Post by schuttep on Oct 6, 2016 10:35:34 GMT
Does Manchester does have a small enough commercial theatre? All of the theatres in Manchester are smaller than the Edinburgh Playhouse! Wimbledon is a huge theatre.
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Post by schuttep on Oct 6, 2016 10:33:55 GMT
I was at "Kenny Morgan" this afternoon and a lady sitting in front row fell asleep (not noisy, but it must be horrible for the actors) and a decrepit gentleman behind me watched a video on his phone that included a barking dog. Wow. I hate it when people watch videos with the sound on speaker no matter where they are. As far as I'm concerned it's noise pollution. Bah humbug! But in a theatre... !!!
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Post by schuttep on Oct 5, 2016 9:12:42 GMT
Restricted view balcony from £1.2m, front stalls from £8.4m, plus £2.25 per ticket booking fee. Elf picture tea towels at £65. Preferable to watching the show (at least it's useful!)
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Post by schuttep on Oct 5, 2016 9:09:23 GMT
She isn't even an MBE which is she should be!! That suggests to me that she may have turned an honour down.
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Post by schuttep on Oct 4, 2016 15:01:53 GMT
Why is that woman not a Dame?? She isn't even an MBE which is she should be!! That suggests to me that she my have turned an honour down.
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Post by schuttep on Oct 3, 2016 9:38:45 GMT
Two stand out for me.
Seeing Stephen Sondheim at Curious Incident at the Cottesloe (now Dorfman) and having a quick chat. He was charming.
And seeing Victor/Victoria on Broadway with Julie Andrews. JULIE ANDREWS, for goodness' sake!
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Post by schuttep on Oct 3, 2016 9:34:41 GMT
Just booked a single seat on the RSC website and left a single seat next to me. Good on them!
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Post by schuttep on Oct 1, 2016 19:17:19 GMT
The Sondheim Society were offered pre-booking on the grounds that they kept it quiet. Based on your current Forum name, Reich, are you a member that has blown their cover?
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Post by schuttep on Oct 1, 2016 19:01:39 GMT
The RSC membership no longer offers £10 off two seats. They offer an upgrade - if available - on the day. How will they work that one out, I wonder? Surely it will involve a delay at check-in?
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Post by schuttep on Sept 30, 2016 9:08:28 GMT
1987 cast had Julia McKenzie, Diana Rigg, Dolores Gray (then in 1988: JM, Millicent Martin and Eartha Kitt), plus Daniel Massey, David Healey, Lynda Baron, Maria Charles, Margaret Courtney, Leonard Sachs, Pearl Carr & Teddy Johnson, and Adele Leigh. Meg Johnson, Hope Jackman, Eileen Page and Harold Kasket joined the 1988 cast.
I was lucky enough to see both and they were marvellous.
Can't wait for the National's take on this: I'll be Losing My Mind...
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Post by schuttep on Sept 30, 2016 8:59:18 GMT
It can't be difficult for a theatre to do a bit of research based on their actual bookings for a set period to see how many single seats are booked versus pairs or more. If there are sufficient single seats sold, there is little reason to penalise single bookers (or those leaving single seats). I understand the point that couples may not be able to sit together later in the day but that would be their fault for not booking earlier. Why should I, as a singleton, have to sit in a lesser seat so that later couples booking can get a better one?
I go to the theatre about 100 times a year and sometimes go alone. If rows of seats have even numbered seats, the minute I buy a legit single seat I have, clearly, left a single seat SOMEWHERE in that row anyway!
There have been times when I've booked late in the day and found a lovely little single seat in a prime position because some theatres don't mind bookers leaving single seats. Win/win as far as I'm concerned.
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Post by schuttep on Sept 26, 2016 20:21:55 GMT
I don't have time to see this one, do you think it's worth picking up the playtext and having a read or does it really truly have to be seen? Difficult question! Better to see but - if it's sold out - the playtext is the playnext best thing.
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Post by schuttep on Sept 26, 2016 9:15:39 GMT
I saw this last week.
It's about a family getting together in a formal family discussion circle to discuss the secrets one member wants everyone to confront.
At first it can be confusing: who's who and what are they saying. That's because only some characters have names; others are referred to by their relationship (Couzin, Brotha (sic), Twin 1, Twin 2 etc). It takes a while to work out who Couzin is cousin to and who Brotha is brother to. And, from the start there's a lot of simultaneous talking and interrupting, which means you really have to pay attention to hear everything.
It's a dysfunctional family drama that has a bit of a twist. It is well acted and had one of my companions discussing it well into the following day.
Well worth a punt.
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Post by schuttep on Sept 24, 2016 18:46:19 GMT
I was at Friday's performance and no noticeable flashes/flashing. Unless you count when Stanley changed into his pyjamas. sh*t! Did u see his wing wang? We where sat in the gallery above him so couldn't see him changing!! He wore a modesty pouch. Only bum in view.
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Motown
Sept 20, 2016 14:25:23 GMT
Post by schuttep on Sept 20, 2016 14:25:23 GMT
Im 43 and stupid enough to remember the stuff from yesterday. I think its ageist to suggest this forgetting things is exclusively for the genuinely senior (said tongue firmly in cheek) I knew I was going to comment on something someone said, but... Oh yes - I'm seeing Motown next week, so if I remember I'll let you know what I thought!
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Post by schuttep on Sept 19, 2016 13:14:05 GMT
As a "senior" I find myself forgetting more and more things. So I took the forgetting to mean "as part and parcel of being senior". I can see how others might have put that down to alcohol.
That being said, who cares if youngsters want to label us seniors as being stupid enough to forget what they saw the day before?
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Post by schuttep on Sept 19, 2016 13:03:25 GMT
I've always found it better not to have a presence on TwitFace.
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Post by schuttep on Sept 15, 2016 9:50:26 GMT
I saw this yesterday afternoon at Richmond on an ATG early bird offer ticket: £19.75 for the centre of Row C.
Another great reason to have an ATG membership.
Well acted and very funny - until the end when it is, of course, desperately sad.
Agree with vdcni re Harriet Thorpe's bosom. You could park a car on it.
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Post by schuttep on Sept 14, 2016 8:32:52 GMT
Possibly schuttep is being a little pedantic, as "actual rain" would imply that the theatre had no roof rather than a tank up in the flies. Water, yes. Rain, not *technically*. Thank you. That's what I meant. Pedantic, yes! Vicious, I hope not.
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Post by schuttep on Sept 14, 2016 8:30:09 GMT
Another black mark for the NT if it turns out that "donors" have missed out on the chance to declare the donation element on their membership on their tax return. I've claimed all my theatre memberships (donations) on my tax returns. If the theatre is a charity, you should always do it.
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Post by schuttep on Sept 9, 2016 9:33:18 GMT
I was looking though some of the memberships thinking about Amadeus which I've totally missed so far and Angels, and saw this at the bottom. "All levels of NT membership and patronage comprise a benefits value detailing the actual cost of membership to the charity. These benefits can be purchased separately at this price. Any amounts given over and above this benefits value are given freely as a donation and are eligible for Gift Aid. Priority Membership − Donation £69/Benefits £11. To discuss purchasing benefits separately please contact the Development Office on 020 7452 3850." Does this imply that by phoning up you can just ask for the lower price, without any donation? Top marks to the National for making it clear what happens on ALL theatres' memberships. As has been stated, the donation helps to make the scheme viable in the first place. After all, the higher the donation, the more they can claim back in tax, so they're likely to down-size the value of the actual benefits at the expense of getting more tax back. If everyone just paid for the benefits, I suspect the schemes would start failing, or ticket prices would increase.
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