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Post by Sotongal on Apr 19, 2017 8:59:36 GMT
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Post by Sotongal on Apr 15, 2017 10:22:01 GMT
I was recently helping a friend book a series of hotels online for a tour of Spain. All the bookings were with the same chain but they had to be booked individually. After booking the 4th hotel, the credit card company blocked the card. When I spoke to them on the phone they explained it was because it had detected unusual activity with several transactions for the same company over a short period of time. Once it was explained they unblocked the card and it was fine for the rest of the bookings. Guess better to be safe than sorry and they resolved the issue very quickly. Techie son had a similar problem when making some Travelodge bookings (in one go) for a tour he was working on. The credit card company said there had been some fraud with people making multiple bookings at Travelodges and so had stopped his card.
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Post by Sotongal on Apr 13, 2017 15:04:48 GMT
More bad manners than bad behaviour, but it really annoys me when sitting with a production about to start and the people who have seats right in the middle of the row, only accessible by pushing past everyone else come in last.
It it can be difficult for some people to keep getting up and down, particularly in some theatres when there's not much leg room, so a bit of forethought by those middle of the row seaters would be good!
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Post by Sotongal on Apr 13, 2017 10:50:37 GMT
Just wanted to mention the small (two hander!) but lovingly crafted 'Finders Keepers' by Hot Coals Theatre, at The Park Theatre. It's these small productions which need lots of support (and bums on seats!) so please go to see it! (It's also a (d) Deaf accessible show and suitable for every age group).
From one of the reviews @pocketsizeblog Pocket Size Theatre Blog (There are other good ones, including The Stage).
'Hot Coals Theatre is celebrating their 5th anniversary with a residency at the Park 90 theatre in Finsbury Park for the month of April. This innovative and imaginative duo of Jo Sargeant and Claire-Louise English are creating a reputation for excellent physical theatre and clowning and their latest show Finders Keepers will appeal to all ages.
Directed by Caroline Parker MBE, in this production they play a father and a daughter living in a junkyard whose daily routine is disrupted by an unexpected delivery and together they have created an integrated (d) deaf accessible show which is charming and touching to watch and full of good physical gags and business. Jo and Clare-Louise delight in playing the cartoonish twits and without words convey their story and emotions while interacting gently both with a cute puppet and with the audience. In particular a charming sequence when they react to audience laughter and silently ask for quiet to let the puppet sleep which simply creates more laughter.
The moment you enter the venue the visual treat begins with an atmospheric, smoky night sky designed by Marine Le Houevec, enveloping the ramshackle home built from pallets and scaffold .The ensuing story is backed by tightly choreographed soundscape of music and effects designed by Chris Drohan which integrates seamlessly with the on stage mime and clowning.
The story has strong echoes of the biblical tale of Moses with references to Pharaohs, Herod, Levites and banned baby boys but it is the timeless theme of the bond and joy between a parent and their child and the emotional impact of their separation that is at the heart of the show.
This show has developed on from its successful run at Edinburgh Fringe in 2017 with a stronger back story and some new business, some of which elongates the show to over an hour. It succeeds because of the two actresses’ comic timing and natural clowning skills.
Jo and Clare-Louise, Marine and Chris, and the Technical Stage Manager James Humby are all RADA graduates and this production showcases both the talent that RADA attracts and the training it provides.
Deaf-infinitely worth catching Hot Coals Theatre at the Park 90 and watch out for more innovative, integrated and charming productions in the years to come from this company .'
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Post by Sotongal on Apr 13, 2017 10:18:32 GMT
The theatres I don't like: (Actually it's fewer than I though it would be) London: Waterloo East - A bit depressing with soulless foyer and cliquey ambience. Don't like the way the manager/bloke in charge seems to find it necessary to make an announcement before every performance Donmar - Too cramped in the foyer and bar areas, cliquey punters. However, I think it's lost it's way a bit production-wise compared to 5 or 10 years ago so don't feel I'm missing much by not going. Sadler Wells - Hard to put a finger on why I dislike, I just do. Almeida - The one I dislike the most. Same reasons as Donmar but far worse. Really, really up themselves punters, poncey atmosphere and do the FOH staff still wear those strange Ruritanian, and slightly sinister uniforms? Regional: New Wimbledon Theatre - Big and soulless, no atmosphere Southampton Mayflower - Same as the above but worse New Victoria Theatre Woking - Always put in a bad mood when I have to visit Woking. Poncey, p*** -elegant bar area with outrageous prices. The Mayflower Theatre in Southampton used to have a lovely ambience in its previous incarnation as The Gaumont, when the interior was painted the sort of cream colour you'd usually find in grade 2 listed theatres. But it when it became The Mayflower Theatre some dolt head thought painting the whole interior an awful turquoise colour was a good thing and it most definitely wasn't! It is pretty huge too, which may not help he ambience stakes - 2,300 seats and it has still got original standing areas on the stalls sides.
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Post by Sotongal on Apr 11, 2017 20:39:39 GMT
Have they picked the most boring song from each musical that's featured?!
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Post by Sotongal on Apr 11, 2017 20:36:32 GMT
Few pics.
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Post by Sotongal on Mar 22, 2017 21:04:43 GMT
And if it puts other people off ever going near a theatre for the rest of their life? You could say that about a bad first experience of anything! But then, it might just be a good one!
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Post by Sotongal on Mar 22, 2017 11:39:09 GMT
I agree re The Painkiller, but interestingly both plays are written/adapted by Sean Foley. Did people like The Painkiller more because Sir Ken was in it and it was a Kenneth Branagh Theatre Company production? (He was workaday with the physical comedy). Or do they hate The Miser more, even if they haven't yet seen it, because the word 'pantomime' was used in some of the reviews when 'farce' might have been a better description? I'd say, it's got a good cast and it's a comedy. Embrace it and enjoy it! Pantomime and farce are entirely different. Farce is mostly plot-driven and pantomime is mostly character-driven. The reviews I saw mentioned grotesque broad-brush playing of some characters in this - so describing those elements as pantomime seems fine. Briefly, there is a plot though - The Miser is fanatical about protecting his wealth and is trying to matchmake his son and daughter to people they don't want to marry as they are in love with others. I'd say it was maybe a bit more like a Restoration comedy and the original Moliere was written about the time they were popular in the UK, though called a comedy. And not everything has to be 'worthy', some things can just be fun. I agree it it seems to have polarised the critics and audiences. People either seem to have loved it or hated it. But as I said earlier, it's got a great cast and it's fun, so for anyone going, just embrace it and enjoy it! Have to add that some people are quite snobby about pantomime, but if it entertains people and gets people/kids interested in going to the theatre and then progressing to more sophisticated productions of whatever genre then that is a fine thing.
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Post by Sotongal on Mar 21, 2017 21:36:07 GMT
Have to say that David Haig is magnificent and looks like he's really enjoying himself as The Player in this.
It's being broadcast live to cinemas next month.
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Post by Sotongal on Mar 21, 2017 21:23:21 GMT
I'm not going until May, and not going to bother reading any of those reviews, when it comes to comedies it is such an individual thing: I went to see The Painkiller last year and people around me were howling with laughter, while I sat there with a face on me like I was watching an extended cut of Schindlers List (possibly the worst 'comedy' I've seen on a theatre stage, and that got some pretty decent reviews) I only paid £10 for my seat, and like Ryan, I shall also be ensuring the bar is full of gin (and also plotting a pub/bar crawl from the theatre back to the train station in case it is actually that bad) I agree re The Painkiller, but interestingly both plays are written/adapted by Sean Foley. Did people like The Painkiller more because Sir Ken was in it and it was a Kenneth Branagh Theatre Company production? (He was workaday with the physical comedy). Or do they hate The Miser more, even if they haven't yet seen it, because the word 'pantomime' was used in some of the reviews when 'farce' might have been a better description? I'd say, it's got a good cast and it's a comedy. Embrace it and enjoy it!
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Post by Sotongal on Mar 18, 2017 17:02:19 GMT
Watched this at Richmond Theatre and it was great fun.
The cast work really hard, the gags fire out at speed though some can be missed and it can seem pantomime-y at times, (it certainly didn't remind us of Carry On films)but it is enjoyable and the cast seem to be enjoying it, too. And it's well cast, they are all good in their roles.
We sat in the third row of the Stalls and quite liked the close proximity of the cast breaking the fourth wall and engaging now and then with the first few rows but there were one or two grumpy people who had the looks on their faces that they found it an affront to their theatre going experience.
We go to London theatre and regional theatre a lot and enjoyed it (certainly more than The Painkiller which was killed by Branagh's lack of any comedic bone in his body).
It's a comedy - go and embrace it!
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Post by Sotongal on Mar 18, 2017 16:55:48 GMT
Judgement in Stone - Kings, Edinburgh
Its Bill Kenwright touring a Ruth Rendall adaptation having lost the rights to the Agatha Christie's - so its one set and a cast stuffed full of people you've probably already seen touring with other Kenwright shows. Couldn't see a thread for this one and I doubt many people will be rushing to see it so here we go. Disposable fluff that has a cast giving its all, Sophie Ward playing against type as the downtrodden dowdy housekeeper and Deborah "Bergerac" Grant having a whale of a time playing to the Balcony as the local postmistress being the highlights of the names in the cast but it was the unheralded Rosie Thomson who impressed me the most as the jolly hockey sticks upper middle class mother. Without any spoilers - two detectives meet up to interview the suspects to a multiple murder that took place five weeks previously. An entire family was gunned down in their own home, we then flashback over the last 9 months of their life's as we are shown the circumstances that lead to their deaths. Now then whilst its all entertaining fun and the cast are clearly enjoying themselves (a nice bit of claret when we get to the shootings as well!) the one minor negative point that I do have is that its obvious from the start whodunit and I was wondering if the twist was going to be that someone else had pulled the trigger but no the twist is that there is no twist or maybe its a psychological thriller showing why the trigger is pulled and we're supposed to know who did it and while that's not a problem in the general scheme of things it does mean that its just a bit too linear - if that makes sense in a show that's told in flashbacks. Whodunit spoiler - the final breakdown of Ward and Grant that leads them to do the murders isn't convincing either as it mostly happens off stage so it seems abrupt that they would crack at that moment based on what we have seen. The lady behind me was also clearly a Blue fan as when Antony Costa made his entrance onto the stage I thought she was going to hyperventilate herself into a coma!! If its coming your way its a nice way to spend 2 hours but you'll not really be missing out if you see something else instead. 7/10 Watched this in Buxton yesterday, completely agree with your review but would only give it a very average 5/10 !
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Post by Sotongal on Sept 16, 2016 20:00:15 GMT
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Post by Sotongal on May 15, 2016 15:05:07 GMT
. But yes, the lighting is low level throughout the whole production, which means even at points where the action is supposedly outside on an Italian piazza and when there are references to the Sun/heat the whole stage is still pretty dark. Down in the back of the stalls the coughing, squeaking seats and people popping out to the loos were more noticeable in the second half. I thought the 'dawn' lighting was effective - I can accept it being dim then - but you're right, the piazza wasn't bright enough during the 'day'. There's a few squeaky seats in the circle too, but those loos at the back of the stalls are the worst. I think the haze effect they use triggers some of the coughing in the second half - it's probably a bit psychological. Maybe you could see more of 'the Dawn lighting' from the Grand Circle than we could from the rear Stalls? Lols!
P.S. Whilst queueing outside the Ladies loos, near the theatre entrance, spotted Jane Devonshire, Masterchef 2106 winner going into the Circle.
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Post by Sotongal on May 15, 2016 12:04:25 GMT
I went last night with my mum. We were in the cheap seats at the back of the Grand Circle. Costumes are modern dress - suits, jeans, dresses. Though Juliet has a rather vintage floaty nightgown. The set is basically a piazza-style space, with three steps up to a higher level surrounding the 'square' centre-stage. Various columns and the odd wall are flown in to change the space to Friar Lawrence's cell, the tomb, etc. Juliet's balcony is placed upstage on the higher section, and is basically a bit of ornamental wall they bring on - no jumping or climbing required to get to it. It's very Italian - snatches of Italian are spoken. Lily James has a brunette wig (which I don't think suits her very well). I really liked the use of music - Mercutio occasionaly sings snatches of songs, almost rat-pack style, Juliet sings karaoke-style at the party, prayers are sung. I thought an older Mercutio works well - he's a little bit of a foolish old man, dapper and a little camp, and his challenge to Tybalt is initially riduculous. Jacobi wasn't always totally audible to us because he rattles through some of his lines, might be better in the stalls but I suspect it's for effect. Mum - whose hearing isn't the best - struggled with Romeo's quieter moments in the second act too, I could just about make him out. We both struggled to see the tomb scenes, especially Romeo's death. Lots of haze and very low ambient light, actors carry on lamps as they arrive so it does get brighter as it goes on - very atmospheric, might be fine in the stalls but up in the Grand circle I wanted a bit more light, please, Ken. I'm afraid I was the annoying person coughing as Romeo stared at Juliet's 'corpse', sorry! I was really trying not to. Other than me I didn't notice any annoying audience behaviour - I didn't hear any phones go off. House Full sign was out but there were a few empty seats around. I thought Richard Madden was very good as Romeo, and I do like Lily James but it's hard to make much of Juliet - especially during the first act. Meera Syal was good as the nurse, and had some nice interaction with Derek Jacobi. We got out about 10.35pm, so it must have finished just before 10.30. We paid (a very long time ago) £65 per seat for seats in row S of the stalls, (for yesterday evening,)which does mean you slightly feel you're watching the production through a letter box, because of the overhanging circle. But yes, the lighting is low level throughout the whole production, which means even at points where the action is supposedly outside on an Italian piazza and when there are references to the Sun/heat the whole stage is still pretty dark. The fact that the all the sets and costumes are in shades of white/grey/black don't enhance visibility either! Because of that I found myself desperately hoping for colour - maybe when the star-crossed lovers passion is ignited? But no. Personally, I found Richard Madden lacking in charisma and passion in this in the same way he did in his performance of Lady Chatterley's Lover in the BBC production of the book. Neither look like teenagers and Madden in a suit makes him look older and more boring. Unfortunately for Lily James, giving her a brunette wig also just made her look much older, instead of younger. And I wouldn't class either of them as being great Shakespearean actors in any way (but they will put the Game of Thrones/Downton Abbey/Cinderella fans bums on seats). The most lively/passionate performances came from Meera Syal, as the Nurse and Michael Rouse as Lord Capulet. Down in the back of the stalls the coughing, squeaking seats and people popping out to the loos were more noticeable in the second half.
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Post by Sotongal on Apr 8, 2016 15:07:58 GMT
I'd like to know why people who have the middle seats in a row are always the last to arrive, causing much disruption to those who are already seated!
We were at the Richmond Theatre once and I noticed a couple standing at the back of the auditorium. When nearly everyone were seated they decided to move to their seats in the middle of a row.
As someone with a dodgey knee, it is, literally painful to keep getting up and down for people who dilly-dally until the last minute!
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Post by Sotongal on Mar 29, 2016 17:34:02 GMT
Over 3 hours!! WTF? I know The Crucible was long but that had Richard Armitage for heavens sake. With his lovely face and big arms and everything. Hell he even took his shirt off to have a wash for the love of Christ! I don't believe for one minute that Timothy Spall is going to offer me anything that comes close to that to make me want to stay for any longer than an hour and a half. Oh, those lovely arms . . . . The Crucible cut it's time back during the previews - when it first started audience members, caught unawares, were having to leave before the end to catch trains home.
But yes, Richard Armitage made it worth it, for many people...
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Post by Sotongal on Mar 12, 2016 20:20:30 GMT
It's a well-observed piece of writing - even down to the fact people with Dementia/Alzheimers do lose their watches and track of time.
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