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Post by horton on Aug 17, 2017 7:25:11 GMT
could it be he's saturating the market to prevent more up and coming writers getting new work out there? Because buying a London theatre to turn into a place where new musical writers can experiment is the best way possible to execute that particular plan? no question that ALW and Cameron stifled the competition during the 90s No they didn't. Theatre was going through some very tough times, and theirs were the few shows that kept things ticking over until better times arrived and others could afford to produce once again. Theatre in London is once more in a hard place and reliable banker shows are again being used. Nothing more. I was working there and I saw it happening on a number of occasions. Look at 1995 to 1996, for examples. Theatremonkey, I didn't realize you were such an acolyte.
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Post by horton on Aug 13, 2017 11:22:58 GMT
It's definitely on my to-see list.
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Post by horton on Aug 13, 2017 11:19:15 GMT
There is no question that ALW and Cameron stifled the competition during the 90s- using advertizing spending power to bend the print media to their will.
It's ironic when they ALW now bewails the lack of a new generation of writers.
Oh and yes, the sands of time are definitely running out.
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Post by horton on Aug 12, 2017 15:18:45 GMT
Much as I loved seeing classic plays like Les Liaisons Dangereuses at the Ambassadors, I can't bear the snobbery that sees 'Stomp' as "clogging up the theatre". What does that mean? You've seen it enough so now it can go away? Or it's not trendy enough? Or it just doesn't appeal to you?
Since it obviously still pulls in a substantial crowd, it totally earns its place in the West End.
"clogging up" is such a selfish term
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Post by horton on Aug 12, 2017 13:16:31 GMT
Yes. Have you bothered to read the rest of my post?
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Post by horton on Aug 12, 2017 5:09:23 GMT
Glad to see more bold programming in this venue for new musicals... I'm sure ALW would never have found anywhere else to support his brave, experimental piece without the visionary programming of The Other Palace. Alongside such up and coming talents like Alan Menken and Frank Wildhorn, it's great to see a fledgling writer getting the support this venue has declared it wants to provide.
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Post by horton on Aug 10, 2017 12:27:12 GMT
Maybe what people are noticing indirectly is a change of priority between regimes.
I have disliked 90% of the plays in his programme, and as a director, I think Norris is pretty awful. However, I admire his attempt to democratize the National and open its doors.
Hytner's National was a well-drilled commercial machine, but I'm not sure it has to be that by definition. Personally, I prefer it to be a place for many voices, even if some are ultimately of little interest.
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Post by horton on Aug 10, 2017 12:06:38 GMT
I thought you were asking if he was a Jewish gentleman
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Post by horton on Aug 2, 2017 10:22:28 GMT
Were you there last night? It was really interesting watching the audience. There were clearly people who were not comfortable because the show could not be pigeon-holed.
Those who, as you say, "let the whole experience wash over" them responded with my favourite thing: a moment of hush and then a sudden ovation. Like a collective breath that had been held.
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Post by horton on Aug 2, 2017 1:29:36 GMT
That WoS review has the IQ of a bag of sand.
If you don't understand non-naturalism you may be confused. If you wonder how a housebound woman can jiggle around and sing, this is not for you, (and you should stick to painting by numbers).
If you yearn for innovative, beautifully executed theatre blended with music, this is a must-see.
This cast is unbelievably talented and, if you engage, it's almost unbearably moving.
The best thing I've seen in quite a few years!
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Post by horton on Jul 29, 2017 7:08:02 GMT
I've just been chatting to the production manager assigned to a massive new- and I suspect quite controversial- theatre "experience".
I don't think I'll bother to share the details, because I've nothing to contribute in terms of whether there will be cheap seats or student discounts.
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Post by horton on Jul 28, 2017 22:33:22 GMT
Although cash flow can be tricky, especially if venue do not release ticket revenue promptly, I can't believe anyone still thinks it's ok to ask artists/ creatives to wait for their money.
Orbital is a very reputable company, though I wonder why they took on this contract given the circumstances. (And most big suppliers do talk to each other about bad debts).
My heart goes out to all the people working on the show who suddenly find themselves out of work through no fault of their own. I hope they all get new jobs very soon.
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Post by horton on Jul 28, 2017 21:54:50 GMT
Fascinating. Tennessee Williams would have loved such insight.
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Post by horton on Jul 28, 2017 19:01:47 GMT
Indeed!
Or as they say at the moment- "don't talk about the whale!"
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Post by horton on Jul 28, 2017 18:48:42 GMT
Is it a musical? "Tomato-tomayto" people play semantics over such things but personally I think it's a musical- the music is so central to the production.
"Disney-fied"- again for some this is a compliment, for some it is an insult. If you mean is it simplified, then no. If you mean, has a huge amount of attention to detail been given to creating a magical experience, then yes.
To be clear, I'm not working on this particular show. People will be able to follow my frank assessment of some recent NT productions. But from what I've heard, this is going to be a massive hit. I certainly hope so. Of course a lot can get lost in a rehearsal room, but it certainly has the potential to be amazing.
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Post by horton on Jul 28, 2017 18:38:00 GMT
We have separate sections for plays, musicals, performers etc.
Wouldn't it be possible to have a ticket info / discounts section?
Having read the feedback thread, it seems several people have also highlighted the benefits of creating a section dedicated to discounts / ticket info / seating info.
Am I saying something radically untrue when I suggest that discussing how to get a ticket you can afford is really not relevant to anyone who wants to comment on the production itself?
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Post by horton on Jul 28, 2017 18:36:19 GMT
Maybe the number just demonstrates restraint. I suppose I could bore everyone daily with musings over whether to grab a coffee in the Lyttleton bar, or whether the Latte is cheaper at the Globe. Maybe I'd post more if the threads- which seem quite heavily policed for some types of comments- were to be improved by organizing ticket discussions to a place of their own. If you love discussing buying tickets what's wrong with it being in a ticket discussion area? Police! Hands Up! Just kiddin' I do take your point but i don't see how that would practically work. If you had one thread for all ticket discussions it would be a complete jumble and no-one would be able to find anything. And having a 'sister' thread for every existing thread purely to discuss tickets that would double the size of the forum, and the threads would equally be all over the place, in different places and both would inevitably go off topic and the discussions would get out of control. It would be a mess.
If anyone has a solution they think could work feel free to tell us in the feedback section here.
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Post by horton on Jul 28, 2017 18:34:11 GMT
I guess we're not actually that boring if we're so popular! So very sensitive. To be precise, I described posts about ticket-buying as boring, not individuals. However, harping on about how you really are interesting...
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Post by horton on Jul 28, 2017 13:46:05 GMT
Love it when someone who's made 270 posts wanders in to tell us we're boring him. Maybe the number just demonstrates restraint. I suppose I could bore everyone daily with musings over whether to grab a coffee in the Lyttleton bar, or whether the Latte is cheaper at the Globe. Maybe I'd post more if the threads- which seem quite heavily policed for some types of comments- were to be improved by organizing ticket discussions to a place of their own. If you love discussing buying tickets what's wrong with it being in a ticket discussion area?
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Post by horton on Jul 28, 2017 12:50:26 GMT
I've seen the designs and heard the music. Honestly, buy your tickets- this is going to be incredible. Can't say any more in public.
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Post by horton on Jul 26, 2017 12:07:16 GMT
It would be fantastic if someone could post something constructive about the actual production rather than talk about Tommy Steele. We had 5 fr*gging pages of people talking about how to buy cheap tickets/ how you can get discounts etc- which seems to be the case every time there's a new show. That's not only self-absorbed but boring as hell to those of us who want to discuss plays and performers. At least the Tommy Steele bitchery was amusing! BTW Theatreboard- I wish you would create a section for people who want to discuss/ plan/ review how to get cheap tickets for shows. Those posts clutter up so many threads. Legroom, comfiness of seats and sightlines from Row ZZ are really nothing to do with the productions on topic.
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Post by horton on Jul 26, 2017 11:59:24 GMT
I'm no fan of the honours system but when you look at some of the people in showbiz that have got a life peerage you wonder who Tommy Steele must have annoyed during his lengthy career. Virtually everyone he worked with
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Post by horton on Jul 23, 2017 21:17:24 GMT
Not every theatre has to have new writing as its raison d'etre. It always struck me the clue was in the names: Old Vic- revivals and classics; Young Vic- adventurous new writing and staging
I agree the Old Vic is snobbish- did you ever go to a performance of Carmen Jones back in the last century?
I'm not one for fancy dress in the auditorium, but I'm not sure that space can avoid being a bit old-school just because of the way it's built.
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Post by horton on Jul 21, 2017 21:16:59 GMT
And what is that picture meant to mean?
Are we now crayoning stick people to avoid having to engage?
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Post by horton on Jul 21, 2017 21:13:56 GMT
Horton - The dynamics of gender in the Donmar Trilogy weren't neutralised, they were considerably heightened, Did you see The Roman Tragedies where this type of change worked perfectly from Cassius to Cassia (to take one example)? That did everything that you say shouldn't be done but, once you have seen it work, it is no longer deniable as an option. The dam is already breached. Yes I did, but I struggle to think of the exact word I mean. It's something like "it made it a level playing field" or "it prioritized a completely matriarchal power structure" or "it positioned the audience to specifically consider the dynamic of gender/ politics" in a way that casting the odd female character doesn't. It's not very elegant, but do you see what I am driving at?
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