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Post by bellboard27 on Jun 18, 2016 23:51:36 GMT
Ah yes, I ingored your much more important point! I bow to your greater knowledge of H downstairs. Hampstead is a bit of a trek for me, so I tend to head for the main theatre shows. RC, on the other hand, is a short walk from work, so I head there much more often. I like the attention to quality also and that they are not afraid to push boundaries.
Also, sorry to have missed you!
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Post by bellboard27 on Jun 18, 2016 23:43:58 GMT
What is it with people walking on the set? At Elegy this afternoon several people walked on the stage, which is covered in some grey crumbly stuff (excuse the technical term!). Signs asked them not to do and it clearly didn't look like a good idea.
At Human Animals recently, one woman decided to take a detour to her seat and walked on a blanket on the set floor. It slipped and she nearly went arse over tit. A cast member quickly folded it away!
The best, though, was some time ago in the NT temporary theatre for I Want My Hat Back (brilliant show!). There were obvious lighting fixtures on the floor. People were directed not to walk on the set, but several times in front of me people trod on the fixtures, eventually breaking one. Technical intervention and delay sorted it out.
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Post by bellboard27 on Jun 18, 2016 23:34:57 GMT
Just got home from this. I tend to agree more with Foxa on this one. I liked not knowing the facts - was I caring about someone who I would regret caring about? I also felt much of it was very believable. There were some odd touches - things said to the lawyer that seemed out of place. I wondered if this was to throw us off, but if so, they were clunky. I agree with Parsley on the age of the girl. Clearly not 7 (height not the only way of telling!). I thought she acted well and she does look young. Would it have worked as well with the daughter being 14 (which she would have been believable playing)?
On the seating, I agree it is an issue. I was really lucky, but I think many felt squashed in. Also traverse arrangements are OK, but I think this one must have been a bit of an issue for those at the ends - feeling a bit distant from action at the far end. The comparison with RC is interesting. I agree the main house pricing at RC offers more for those on a limited budget. However, downstairs at Hampstead is usually cheaper that RC upstairs.
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Post by bellboard27 on Jun 18, 2016 12:47:37 GMT
Henry VI does appear in the dream according to the text You'd only see that if Richard 3 is performed alongside Henry 6 because other than being a corpse Henry has little impact in the former Thanks. You are quite right. The Almeida production used a skeleton rather than a whole body so introducing the character would make recognition difficult without adding "hey, for those that don't recognise me, I'm the late King Henry". I'm not convinced this would work!
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Post by bellboard27 on Jun 18, 2016 10:18:06 GMT
Yes, Ralph still squeezes the doll's head, but it didn't seem to get back into shape so readily. Goodness knows what state it will be in by the end of the run!
I also agree about the dream sequence. It is clunky in the play in any case, but this is such a political play - just making clear that absolutely everyone that Richard has killed supports the (dubious) inception of the Tudors. I seem to remember in the BBC Hollow Crown they included Henry VI at this point for added emphasis!
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Post by bellboard27 on Jun 18, 2016 8:34:25 GMT
This Board has interesting effects. Obviously this thread seriously lowers expectations. Hence mine were not great last night (though reviews published yesterday had some alternative views). I also had no build up in my mind as I did not plan to go (just spotting a cheap ticket online about 11.30 pm the night before). As a result I had a reasonable time. Yes, there are some odd production decisions, but also some nice touches. The acting is mixed. So, a bit of a curate's egg - but that's not bad if you expected only bad eggs!
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Post by bellboard27 on Jun 18, 2016 8:10:51 GMT
Am heading to this Sat evening - good to hear some positive feedback We shall meet? That's a good idea. I'll get there around 7.
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Post by bellboard27 on Jun 17, 2016 23:08:02 GMT
Am heading to this Sat evening - good to hear some positive feedback
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Post by bellboard27 on Jun 16, 2016 21:52:30 GMT
They could flood the tracks, change the train to a ship and do a beefed-up version of Titanic.
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Post by bellboard27 on Jun 16, 2016 21:50:12 GMT
Interesting. The studio will be 60-70 seats. I've been to productions in the main theatre with that sort of number where they make only the front stalls available, so it feels cosier. We shall see if this change works. If the drinking space has gone, there is always the pub next door.
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Post by bellboard27 on Jun 16, 2016 21:38:40 GMT
Just been. I couldn't match Caiaphas' eloquent review, so won't. But thanks for it as it made me go.
On numbers - stalls about two thirds full and a smattering in the dress circle. Grand circle closed.
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Post by bellboard27 on Jun 16, 2016 9:07:53 GMT
It is an oddity, The Mousetrap. I am all for a good murder mystery, but this did not work well for me. However, it is a phenomenon. It is unique in theatre history and I went (some time ago) for that reason.
If you do go to St Martins, it is worth giving yourself some time beforehand to look around. The walls, bars, etc., have a lot of memorabilia. I would recommend the day seats. The front row is a bit of a look-up, but it is the only way to get a discount. They also do not seem to sell quickly, so it makes it easy to make a decision to go or not on the day. Also you are not put off by the fact that most of the rest of the stalls are empty!
By the way, the murderer is ….
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Post by bellboard27 on Jun 16, 2016 9:00:13 GMT
Was at the main event last night. Lots of glitz. Great hanging about on the balcony with a G&T people watching as they strolled along the (in this case) purple carpet.
The show. Well, Disney does spectacle and this was spectacle. I loved the design – the overwhelming colours, wonderful sets, choreography and appearances (and disappearances) of the genie. And, of course, the magic carpet – seriously impressive.
Trevor Dion Nicholas as the genie was also excellent.
Now for the negatives. The story is simply Disney schmaltz. I really could not engage with it. A fairly tale without any bite. As a result the songs (apart from Friend Life Me) did not grab either.
So, I middle of the road on this one. If I were to take a child to a musical I would put this right up on my list. An adult, maybe not (obviously depends on their taste!).
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Post by bellboard27 on Jun 16, 2016 7:57:15 GMT
And only 2 stars from The Metro - "without Trevor Dion Nicholas's wish-granting lamp-dweller we'd all be wishing we could leave". Bit harsh I'd say!
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Post by bellboard27 on Jun 15, 2016 16:06:26 GMT
If I bought a theatre I would erect a statue of Parsley in the foyer with the inscription from Dante: "Abandon all hope, ye who enter here"!
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Post by bellboard27 on Jun 15, 2016 8:19:41 GMT
Last night the production was being filmed. I understood this was a trial run. In the foyer there was a notice that there would be cameras and FOH mentioned it. I have seen quite a few productions being filmed, live broadcast, etc., but nothing like this. The stalls are divided into front and back at Row O. In front of Row O there were three large cameras about a metre apart, each with their own camera men standing behind (there were also 2 more cameras near the stage to the side, but these were not in the way). People seated in the central stalls behind this lot would have had real problems seeing much (I tried out some seats before the start). I asked a FOH staff if these people knew what they were getting. I was told yes, but someone overheard and said she did not know, but the ticket was discounted (to what price I do not know). However, even discounted I would not recommend it. So, if future productions are filmed, I would resist the temptation to save a few quid.
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Karagula
Jun 13, 2016 22:10:52 GMT
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Post by bellboard27 on Jun 13, 2016 22:10:52 GMT
Right! Parsley in a nightdress doing his Beyoncé dance! Well I suggest we organise a venue & get the tickets on sale. Parsley, I assume Equity minimum is OK?
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Post by bellboard27 on Jun 13, 2016 16:13:41 GMT
Endurance and suffering through a bad show builds character!
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Post by bellboard27 on Jun 13, 2016 16:01:42 GMT
No I didn't see her in Lady Macbeth - hence very pleased to have caught her this time. I didn't not like Leonardo - just something didn't grab me. Maybe my ears were not tuned up that evening!
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Post by bellboard27 on Jun 12, 2016 17:30:15 GMT
There is a formula that ensures a new musical is both a critical and commercial success. What's that? I believe it is out there, but probably just beyond the grasp of human understanding!
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Post by bellboard27 on Jun 12, 2016 16:29:32 GMT
There is a formula that ensures a new musical is both a critical and commercial success.
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Post by bellboard27 on Jun 12, 2016 10:20:58 GMT
What about a Star Wars spin-off where R2D2 decides to teach a bunch of Ewoks to speak properly by getting them to put on a production of My Fair Lady? I'd go to see that!
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Post by bellboard27 on Jun 12, 2016 9:42:32 GMT
Saw this yesterday and, having gone back over this thread, I find myself fully agreeing with the major issues in the writing raised by DuchessConstance on 30 May. So I won't repeat.
On another point, what proportion of plays, films, etc., are based around writers as characters? Sometimes I sink in my chair when I find a main character is yet another writer. I know the first advice writers are given is 'write about what you know', but one hopes they can get beyond knowing about writing!
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Post by bellboard27 on Jun 12, 2016 9:25:15 GMT
I saw an interview with Martin Shaw where he expressed a strong personal connection with Hobson's Choice. It stemmed from when he was in the rep company at the Queen's Theatre Hornchurch in the 1960s, where, in 1966, he played Albert Prosser.
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Post by bellboard27 on Jun 12, 2016 9:12:13 GMT
Newspapers used to run competitions in the summer where readers were invited to look out for some guy and if spotted the public could accost him and claim a prize (it formed the Kolley Kibber plot line in Brighton Rock). Maybe we should build on this and accost likely individuals at the theatre with the line "you are Parsley and I claim my £5". At the very least it should provoke some interesting reactions.
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Post by bellboard27 on Jun 11, 2016 21:05:51 GMT
Cats is the most pointless thing I have ever seen on a stage. I just don't get it and how it is still going, despite being so dated. Sorry Cats fans. A pussy allergy? I'm sure I've seen a cream for that.
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Post by bellboard27 on Jun 11, 2016 11:59:33 GMT
Anyone seeing this I am going tomorrow evening The headline in The Spectator was "three hours of vomit, fellatio and menstruation". So looking forward to your feedback!
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Post by bellboard27 on Jun 10, 2016 20:50:42 GMT
Just noticed that the Evening Standard's editorial today includes praise for Anish Kapoor's design for Tristan and Isolde along with plea to ensue survival of ENO.
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Post by bellboard27 on Jun 10, 2016 20:39:26 GMT
I also enjoyed this. Well acted and certainly an allegory - but it's a challenge teasing out the different elements. Some great lines in it (usually delivered out of the blue). "I've been taking the cat's Prozac" and (very fitting for this Board) "man cannot listen to show tunes alone"!
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Post by bellboard27 on Jun 10, 2016 15:56:30 GMT
Yes I agree about Luidmyla Monastyrska, but was not taken so much with Leonardo Capalbo myself!
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