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Post by princeton on Apr 27, 2023 14:24:39 GMT
It’s for “extra entries” which I think is as effective as Today Tix’s Rush extra entries when you share on social media, so completely useless. Sorry - it was my attempt at humour and an extra hint to the codeword (your previous post snuck in whilst I was typing mine) I actually think it's a fun thing to do given the subject of the show.
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Post by princeton on Apr 27, 2023 13:49:42 GMT
Not sure about the use of a codeword for the lottery - seems there's a bit of trickery and deceit at play!
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Post by princeton on Apr 18, 2023 14:25:54 GMT
I saw that production at Oxford and still can't decide whether it was utterly bonkers or utterly brilliant - or maybe a bit of both. It was certainly very high concept from the lip-syncing to pre-recorded, seemingly random, voices; text and videos being projected onto the set; a Yorkshire accented Eliza bursting into My Fair Lady at one point; and Doolittle as a stand-up comedian. It was definitely anything but boring and I remember it being rather moving in places, particularly in the way it explored the relationship between Eliza and Higgins.
It was actually directed by Sam Pritchard - the late Alex Beckett played Higgins and Liza Sadovy was Mrs Higgins.
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Post by princeton on Apr 13, 2023 12:04:23 GMT
So have I got this right? Ben Elton is directing Ben Elton in Ben Elton's musical.
That's almost as many credits as Cameron Mackintosh gives himself on one of his shows.
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Post by princeton on Apr 13, 2023 10:01:48 GMT
I know. I thought I'd been given some first class theatre gossip - only to now find out it's already in the public domain, just not where you'd expect to find it!
I guess a three-time Olivier nominee and former Broadway leading lady isn't worth mentioning on the show website!!
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Post by princeton on Apr 13, 2023 0:05:08 GMT
Oh WOW - where did you hear this? A source very close to her aka her husband/co-star/other person mentioned in the post!
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Post by princeton on Apr 12, 2023 21:38:11 GMT
Don't think this has been mentioned (and it's not on the show website) - Josefina Gabrielle is playing Maggie Jones at Curve and Sadler's Wells, and Michael Praed is playing Pat Denning at those venues.
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Post by princeton on Apr 12, 2023 21:22:37 GMT
I know that that plan was for a key member of the original production team (Palladium and Drury Lane) to be the sole director this time around - def not Laurence Connor. However I've no idea what they intended to do about the design though given CML's recent habits it's quite likely to have been some sort of scaled down version rather than the full glorious Anthony Ward set.
Anyway back to Leeds - interesting to find out the creative team and cast.
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Post by princeton on Apr 12, 2023 14:27:27 GMT
Curve Leicester also did Oliver! in 2015/6.
I guess what is unusual about the timing of this production is that it's well known that Cameron Mackintosh had been planning to remount the Sam Mendes/Rupert Goold/Matthew Bourne production in London. All has has gone quiet on that front so maybe he's lost interest or perhaps casting problems have caused long delays.
Might be nothing but the licensing requirement is that 'by special arrangement with Cameron Mackintosh' should go below the title - whereas here it's above. Might be a mistake - or might be a very special arrangement!
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Post by princeton on Mar 27, 2023 17:58:55 GMT
Barbican Centre website still says: "Following Kathryn Hunter’s sudden illness, Amanda Hadingue will perform the role of Janina while Kathryn makes a full recovery" but don't know whether they are updating that on a day-to-day basis
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Post by princeton on Mar 24, 2023 16:56:36 GMT
I had completely missed when they announced the transfer that there was also a largely new creative team. Apologies it this has already been mentioned.
Rob Hastie directing, Ben Stones designing set and costumes, and Mark Henderson lighting design (all from Standing At The Sky's Edge). Jenny Arnold stays on as choreographer.
Will be interesting to see how much more 'west end' they make it whilst still remaining true to the earlier iterations.
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Post by princeton on Mar 23, 2023 10:03:40 GMT
It will have been the producers that did that, not the BBC. Indeed the BBC didn't make the programme. It was made by Cameron Mackintosh International and the main producer was Cameron himself (David Dolman, CM's Marketing Director is credited as Film Co-Producer, Thomas Schönberg as Executive Producer)
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Post by princeton on Mar 23, 2023 0:47:09 GMT
Not to mention that Anna-Jane Casey and Rob Bryson aren't in the correct alphabetical order.
Proof reading - what's that?!
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Post by princeton on Mar 14, 2023 13:37:15 GMT
Are there one or two intervals for this? In the Dutch version there was only one interval - and the running time was about 4hrs10minutes (though it didn't feel that long). I can't believe that it's solely the difference in language which means that it was longer - so they've either edited quite a hefty chunk out of it - or the 3hrs40 is a VERY vague approximation.
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Post by princeton on Feb 23, 2023 23:25:11 GMT
Produced by Michael Harrison at the Palladium - a panto cast was to be expected.
Maybe he'll just use the Joseph cast - Alexandra Burke as the Wicked Witch of the West? Jason Donovan as the Wizard? Jac Yarrow as the Scarecrow?
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Post by princeton on Feb 23, 2023 23:10:31 GMT
I think the new cast members start next week - at the Everyman, Cheltenham.
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Post by princeton on Feb 13, 2023 11:38:48 GMT
but i dont think he's ready for Sweeney just yet I'm guessing that Jeremy Secomb who played Sweeney in the Harrington's Pie and Mash Shop version in London (Mackintosh help fund the recreation of the shop on Shaftesbury Avenue) and New York will do the Sweeney songs here. Of the cast announced so far I'd most like to see Joanna Riding play Mrs Lovett.
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Post by princeton on Jan 23, 2023 12:39:52 GMT
I think, judging by the way it is billed, that Stumped is a commercial hire rather than an in-house production. That might explain the two-tier price system and more expensive than usual ticket prices for the main run. I suspect that there will be more of these, both in the main house and downstairs, going forward given the perilous state of Hampstead's funding. Great that they've managed to still do the £5 preview tickets.
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Post by princeton on Jan 10, 2023 16:23:12 GMT
Crossing fingers Aimee does Wednesday matinees She seems to be alternating Wednesday matinees and Thursday evenings - this from the website: Aimee Lou Wood is not scheduled to perform on 15 Feb (matinee), 16 Feb (evening), 23 Feb (evening), 1 March (matinee), 9 March (evening), 15 March (matinee), 23 March (evening), 29 March (matinee), 6 April (evening), 12 April (matinee), 20 April (evening), 26 April (matinee), 4 May (evening), 10 May (matinee), 18 May (evening) and 24 May (matinee. Hoping that you've booked for the 8 March matinee......
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Post by princeton on May 24, 2022 12:35:09 GMT
Though not in so much pain that she couldn't walk around the Chelsea Flower Show or go the launch of her new clothing line yesterday.
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Post by princeton on May 20, 2022 12:37:39 GMT
Must be a short run as he starts in Merrily mid-November in New York Indeed - Merrily We Roll Along rehearsals are scheduled to start on 18 October.
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Post by princeton on May 18, 2022 13:25:33 GMT
Public booking at the Barbican Centre opens tomorrow - they are saying at the moment that tickets are: Preview performances: £20.00 - £62.50*; Performances from 19 October: £20.00 - £72.50* *A limited number of premium seats are available from £85.
So looks as though they are a lot less expensive than the tickets for the return of Anything Goes.
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Post by princeton on May 5, 2022 13:34:39 GMT
The final one might be Treason, about the Gunpowder Plot, which was done in a streamed concert version last year, ahead of a planned full production this year.
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Post by princeton on Apr 14, 2022 11:47:49 GMT
They normally send an email about a week before the performance which will include the exact seat allocation (the old booking system used to allow you to log in and see where your tickets were but as noted above now your account doesn't include anything about your bookings).
I agree that it's bonkers that they claim not to know the auditorium configuration until near the start of the production, particularly one like this which has been around in one incarnation or another for several years. I'd rather they opening booking later than this slightly pot luck approach. If places like Hampstead, the Dorfman and Southwark Playhouse which are equally flexible spaces can get their acts together before booking opens I'm not quite sure why the Young Vic can't.
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Post by princeton on Apr 11, 2022 11:28:59 GMT
They've never made any attempt to hide the fact that Eddie Redmayne is the driving force behind this production. In almost all of the interviews he did prior to the show opening he mentioned how he had wanted to play the part for a very long time (indeed Baz's tweet on the very first post of this thread refers to this), and once he had a producer on board and they had got the rights he had approached Jessie Buckley to play Sally Bowles and then together then went to meet Rebecca Frecknell to see whether she would be interested in directing it.
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Post by princeton on Apr 10, 2022 17:41:24 GMT
It is voted for by passionate theatre lovers in the main so it is their opinion. If they didn’t get to see her in the role they czn’t vote for her can they? That's far from the case these days. Years ago both the shortlist and the winners were chosen and voted for by a relatively independent panel made of members of the public and some members with professional expertise, though no direct links with any productions which opened that year. Nowadays that panel draws up a long list of possible nominees which is then circulated to the entire SOLT membership (which far outnumbers the panelists) who can vote on people/productions on the long list or add others to it. Then, based on all the votes, a shortlist is drawn up of nominees in each category and that is voted on by the panel and the SOLT membership. So these days it really is the theatre owners and producers who are influencing the final decision, and as we know these people often have a vested interest in more than the production which has their name at the top.......
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Post by princeton on Apr 2, 2022 11:25:12 GMT
Regardless of the reasons for Taron Egerton leaving the production, I thought that the statements from Elliot and Bailey were slightly oddly worded (shades of the king is dead, long live the king). That said I guess the main comms message is aimed at those who already have tickets - and is about the production being just as good even though the top billed star, who will have been the reason many booked, is no longer appearing.
They've already removed all reference to Egerton from the website - though may not yet have sorted out billing etc as now there's no one listed either above or below the title!
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Post by princeton on Mar 31, 2022 22:45:13 GMT
As is Charlotte Kennedy.
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Post by princeton on Mar 24, 2022 20:10:14 GMT
Pretty much every subsidised theatre, museum and gallery do these type of events - often attended by the same people. Not regular theatre/museum/gallery goers but people with very deep pockets who think nothing about spending £20k to bid on have a leading artist do a two minute doodle for them, or a leading actor record an answerphone message. It has nothing whatsoever to do with forthcoming awards or generating publicity beyond the society pages - it's about making those who are already likely to be the highest level of benefactor feel very special so that they get out their chequebooks and give even more. These events are quite unlike the Sondheim gala or the Taboo concert - they are proper high-level fundraising/philanthropy opportunities.
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Post by princeton on Mar 21, 2022 15:11:31 GMT
Her dad is English, her mum was from Maori heritage from New Zealand, and she was born and brought up in Hawaii so she can effortless slip between the three accents. Search for Keala Settle New Zealand and you'll hear just how flawless her accent is there too.
(WireHangers - great minds....)
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