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Post by Honoured Guest on Jan 8, 2018 11:33:03 GMT
I agree in general [EDIT: with emicardiff on WMC] but I've had more adverse incidents at WMC than everywhere else put together.
I've been detained by police and prevented from attending a performance on potential security grounds.
I've sat with half the audience and the ushers waiting for 45 minutes for a post-show discussion which was actually occurring, in error, on a lower level because the creatives had got lost in the building.
I've attended a play with a depleted audience because the tickets stated an incorrect start time 30 minutes later than the actual publicised start time, which I'd pointed out to the box office several weeks previously.
I've witnessed disabled people turning up at the printed level to face loads of steps tp their seat and told by a stony-faced unempathetic usher to go to a lower level where they'll have step-free access to their seats.
Most of the issues I've encountered arise from the size of the place and the number and range of different public activities going on, which the front of house sometimes struggles to cope with.
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Post by Honoured Guest on Jan 8, 2018 11:17:27 GMT
In 2016!
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Post by Honoured Guest on Jan 8, 2018 11:15:18 GMT
What's your source for the NT?
#Sceptical
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Post by Honoured Guest on Jan 8, 2018 11:12:12 GMT
Didn't have a clue what was going on most of the time Exactly! The Red Shoes was the final straw for me.
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Post by Honoured Guest on Jan 8, 2018 9:08:59 GMT
It's funny that there's never a summary of what is happening in any of his programmes (apparently his shows are crystal clear, I don't agree) Yes, I used to be a big fan but I've now stopped going because I struggle to follow the narrative or even to identify some of the characters. And, please, will no one bother to patronisingly tell me either to sit back and let it wash over me or that it is all crystal clear.
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Post by Honoured Guest on Jan 8, 2018 8:56:06 GMT
Theatres I judge as poor include the Menier, Old Vic, Young Vic, Donmar Warehouse, Vaudeville and Almeida. Outside London Churchill Theatre, Bromley; Festival Theatre, Chichester, Theatre Royal, Bath And Old Vic, BristolI've loved Bristol Old Vic's "guest experience" in the last 19 months during the front of house redevelopment. The Backstage Bar has a lovely rough feel. The new improved foyers will open in the autumn! My favourites are the Royal Opera House (with its Floral Hall), the Almeida and the Royal Court because they all have a thrilling ambience with great bar and light catering provision and buzzing staff, and the generally buzzing audiences are forced in each case to share a space which is too small for privacy and which forces people to interact with strangers,
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Post by Honoured Guest on Jan 7, 2018 22:30:41 GMT
For starters, I found it odd that in 2 hours of ballet none of the women did any work en pointe. Some of the dancing was more like what I'd expect to see in a musical than a ballet. None of Matthew Bourne's work is ballet.
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Post by Honoured Guest on Jan 7, 2018 15:40:56 GMT
I don’t think it receives subsidies from the state does it? As a registered charity, it benefits from GiftAid contributions from HMRC.
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Post by Honoured Guest on Jan 7, 2018 15:37:53 GMT
Only last week. David Hare was telling us that , in his ideal theatre, all the ancillary staff would be actively involved in every facet of the theatre so he must be wetting himself at this.
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Post by Honoured Guest on Jan 7, 2018 12:55:35 GMT
She seems to have had direct access to the AD (unheard of for aspiring unsolicited writers). I look forward to the forthcoming Royal Court production of Parsley's debut play Winter Pressures.
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Post by Honoured Guest on Jan 7, 2018 12:53:31 GMT
I think that this definitely raises questions about privilege and accessibility Raising questions which probably have valid answers.
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Post by Honoured Guest on Jan 7, 2018 12:50:48 GMT
Seems odd that there are only 10 performances each of Emilia and Eyam. There are 11 performances of Emilia and 10 of Eyam. Eyam plays in late September to mid October when many people are unwilling to risk freezing to death at the Globe. The audience capacity of 10 performances at the Globe is similar to a standard run at the Dorfman or Downstairs at the Royal Court.
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Post by Honoured Guest on Jan 7, 2018 10:06:36 GMT
Not a member, but I picked up a copy on Thursday morning at Shakespeare's Globe.
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Post by Honoured Guest on Jan 7, 2018 9:21:08 GMT
And agree with Lynette that just saying "seated tickets from £22" is not particularly helpful! Many theatre brochures do this now.
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Post by Honoured Guest on Jan 7, 2018 9:18:56 GMT
It's much more of an issue in politics.
It would be ridiculous in theatre to never work with anyone you knew.
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Post by Honoured Guest on Jan 6, 2018 23:27:03 GMT
The last thing the RC needs is any more bad coverage. Er, the artistic director has just been voted the most influential person in UK theatre. I think the theatre can withstand a few jealous snipes.
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Post by Honoured Guest on Jan 6, 2018 23:19:16 GMT
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Post by Honoured Guest on Jan 6, 2018 21:09:19 GMT
Chichester and Haymarket?
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Post by Honoured Guest on Jan 6, 2018 18:30:31 GMT
Did you see all the adverts?
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Post by Honoured Guest on Jan 6, 2018 18:01:44 GMT
Heisenberg: The Uncertainty Principle
The Lion, the Witch and the Wardrobe
Angels in America
Three highlights of my recent theatre-going - Elliott & Harper Productions is firmly on my must-see list.
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Post by Honoured Guest on Jan 6, 2018 15:22:01 GMT
I take it that Mr Parsley is referring to The Stage's 100 most powerful people in theatre. "The Stage 100 is the definitive list of theatre’s most influential people and partnerships." Looking at the list, they seem to mean UK theatre.
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Post by Honoured Guest on Jan 5, 2018 16:42:42 GMT
Carpeople
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Post by Honoured Guest on Jan 5, 2018 16:13:41 GMT
I get the impression that the planning of this season has been terribly rushed and that no one yet has much of a clue exactly what will happen.
And the season announcement itself is astonishingly muddled and obscure. The printed season brochure seems to have gone to press before the finalisation of many details which yesterday slipped into the public realm, if you read every single press report and put it all together. In an 84=page brochure, there's not a single mention of Mark Rylance, for example! You need to be Sherlock Holmes to even begin to get a partial grasp of what was supposedly announced.
I think I read somewhere (but can't now find it) that The Globe Ensemble, presenting Hamlet and As You Like It, is only 12-strong (and this may include the directors and designer - perhaps they'll be the last two or three members left when the group's decided the casting)? In any case, it's fair to assume everyone will have more than two lines!
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Post by Honoured Guest on Jan 5, 2018 16:00:22 GMT
What was difficult about Grimly Handsome? Three scenes, one with men preying on a young woman, one about detectives and their immediate circle on what appeared to be the same case and a coda of animals, making the analogy clear as to the nature of the previous. If anything I was disappointed it was so clear, I’d been led to believe it was going to be ‘Lynchian’, someone whose surrealist and dream imagery is far more of a challenge. It was fine for what it was, I suppose. Your summary of Grimly Handsome seems extraordinarily reductive! Personally, I found Grimly Handsome, which I mostly enjoyed watching from moment to moment, to be probably the most difficult theatre I saw last year. So I read the text afterwards and then decided it was even more difficult than I first thought, and I understood that I could not "get" it and made a note not to see anything else by the writer, in the same way as I never now see anything directed by Katie Mitchell. You didn't mention that one character transforms into another, and back again. Or that each character in each of the three scenes is also in some way a specific character in the other two scenes. I'd have preferred to have seen this play directed by the writer, who directed the premiere production, because that would have guaranteed the source of everything the audience was experiencing. Another confusion (one of many) was why the "handsome" character wasn't handsome. And why did one of the three actors announce each of the three sections, instead of using the video screens? I've given this experience enough time to start reading reviews and features without spoiling my original experience. This was DIFFICULT!
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Post by Honoured Guest on Jan 5, 2018 15:42:29 GMT
For me An Octoroon didn’t live up to the hype and neither did Grimly Handsome. I saw both but where was the hype?
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Post by Honoured Guest on Jan 5, 2018 12:45:35 GMT
I sat in a restricted view Pit row M high chair for Barber Shop Chronicles. The restriction turned out to be a steel pillar in the off-centre of my view. The "high chair" feature was in fact a boon but the pillar was a real spoiler.
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Post by Honoured Guest on Jan 5, 2018 12:38:44 GMT
The price Of the The average A&E attendance is £124 Do you mean the cost? There is no price, although there may be a charge to some non-UK attenders. At least 30% don’t need To be there And more than that leave without any treatment other than advice Some people do attend in the knowledge that they should have gone elsewhere. But your "at least 30%" includes people with little medical knowledge who attend in good faith. And advice is better than no advice and is, as you say, a form of treatment, isn't it?
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Post by Honoured Guest on Jan 1, 2018 23:00:34 GMT
Just to say with the doubling of this play ( though of course this is an adaptation as is the Old Vic version ) and the two Macbeths coming up at NT and RSC, that both texts are on the GCSE syllabus so the more the merrier. Two more versions of A Christmas Carol next Xmas - Bristol Old Vic and West Yorkshire Playhouse. And two more Macbeths this year - Tobacco Factory Theatres and HOME with Lyric Hammersmith. I agree with Lynette - the more the merrier.
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Post by Honoured Guest on Jan 1, 2018 15:59:06 GMT
The Olivier box office machine is issuing tickets for the Littleton too. I got my tickets for both Pinocchio and Macbeth there a couple of weeks ago. But what about for the Dorfman?
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Post by Honoured Guest on Jan 1, 2018 10:40:32 GMT
Well this surely clinches it: the collective Theatreboard clout will ensure a West End transfer - won't it?! Yes, the transfer venue will need an extremely long Stalls front row, all sold at bargain rates, and an abundance of partially restrictive pillars, if you're all to be accommodated. Or, alternatively, the transfer must flop, to enable you all to purchase heavily discounted tickets.
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