1,102 posts
|
Post by zak97 on Sept 6, 2016 9:28:17 GMT
Like ALW said it would be a conflict on interests to open JCS and SOR in the West End at the same time, surely it would be the same for Gary to have The Girls and Finding Neverland both open in January. I can see this maybe coming February/March now, especially as no ideal theatres are obviously available.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 17:04:52 GMT
I would much rather see Siobhan Dillon back as Molly, but then again she'd be wasted on this production.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 17:01:54 GMT
I just don't think American's would get the humour. I hope the wouldn't rewrite some of the English specific humour; it's what makes the play.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 16:03:53 GMT
I don't blame Sarah entirely, but from what I've heard of youtube, she should have used her brain to assess whether she could actually pull the role off. I'm not saying she shouldn't do musical theatre, but Molly is a big acting part, and maybe she should have thought 'can I do it now, or instead wait a few years with some more experience'. But at the same time, the producers should have had a strategy to get around this, whilst the public have been harsh, in my opinion, they have the right to be. If someone has paid good money, Sarah should know she has to deliver big results, and in her Lorraine interview she suggests that she isn't too confident in her own ability, but equally the producers should make sure the quality is indicative of ticket cost.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 15:16:46 GMT
Looking at the booking calendar, I think it's the first (but possibly second so don't quote me on that) week of June that has a performance schedule that looks a bit different to the normal one. So that could be cast change.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 13:13:33 GMT
Queue of about 4 or so about an hour before the show. I spotted two empty single seats in part 2 so it's possible they got in.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 12:54:27 GMT
I can imagine this could fill 2000+ theatres for 6 months, but after that I would expect a dip, only slightly, but in a big theatre that is probably much more noticed.
I don't get this - these theatres have been around for over a century. The reason why the Palladium, Theatre Royal and Dominium are difficult to sell is because the shows there have been RUBBISH or over priced.
If Harry Potter/Frozen/Mormon/Hamilton/Madonna in Kiss of the Spiderwoman were in them - they would sell out for years, so the argument isn't there.
The main problem with the West End is that we unfortunately have just not produced good enough musicals recently.
But Harry Potter is selling out because it's the only way to experience the play live, and people are coming from all over the world to see it. I doubt people would fly across the world to see Moulin Rouge. Equally, is Moulin Rouge as popular with a young audience as with the film's original demographic? Harry Potter seems to have a much wider audience base. Equally, Harry Potter sells out because it's a new story, which makes the play sell out for years, as that intrigue fascinates people much more probably than a musical adaptation of a known story.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 12:45:29 GMT
Oh, and on another note it was a pleasant surprise to have Lin Manuel Miranda sat in the seat directly behind me for part 1.
|
|
1,102 posts
|
Post by zak97 on Sept 5, 2016 12:43:57 GMT
Having seen it the second time yesterday, first time in the Balcony and this time row F stalls central aisle seat, the play seems equally incredible. As my first viewing I loved the physical movement of the train scenes in clearer detail, and this alike the dementor scenes seem more impressive I imagine for first time viewers as you can't see the cables from row F, from the balcony I always suspected something was going to happen. I suppose the magical effects are a bit diluted the second time, as although it was worth going to see the effect from a better vantage point as well as see the writing all over the Palace walls which I missed from the balcony, the fact that I knew what the effects were removed some of the wow! I imagine some people who go will want to return for the effects, rather than the acting. However, it was the dramatic content of the play that really engaged me the first time, and having felt a bit disconnected from the balcony I was just waiting to get the opportunity to feel immersed in the emotion by being front stalls. Jamie Parker was impressive in June, and more so now. He seems to have the torment nailed, and his pairing with Poppy Miller is fantastic. Alex Price wasn't on as Draco, it was James Howard, I think. Aside from appearance, the understudy looks a bit more like Lucius Malfoy actually, both actors play the role very similarly - although that's not a bad thing. For me, the slight menace that Draco evokes was contrasting to Scorpius' quirkiness much more prom unitedly. Anthony Boyle seems to have grown in to the humour a lot more, and had many more laughs this time, and brings out the wired dimensions more prominently. However, and like my first viewing, my favourite character of all was Albus. I find Scorpius interesting, but I generally find Albus to be the much more real character. I suppose this could be because I identified with the characterisation and dramatic arc, but I liked that Rowling didn't provide a front or facade, and that, for me, helps bring out the fragility of the character. Sam Clemmett made the performance believable, more so than last time which I didn't think would be possible. Sam seems to have the perfect chemistry will all the actors he interacts with, which never renders Albus a character that had dimensions because of the magic and special effects to draw interest. But rather conveying the simple honest emotion. The connection between Sam's Albus and Jamie's Harry at the killing of James and Lily and the final scene didn't make me cry the first time, but the little extra spark from growing into the parts this time did, although this could equally have been helped by sitting close to the stage. Having seen the play twice, part 1 was still interesting, but it was part 2 that still shocked and impressed me more. I feel part 1 is a great introduction to the characters, to identities, the magic, and the concept of the play. But once you know that, you know it and it limited, for me, the amount I could get out the play. The reason why part 2 shocked me so much more the second time, I think, was because the story progresses at a slower rate, rather than covering many years of school. Equally I felt much more intimidated the second time at the part 2 opening with the Slytherin takeover. Being able to see facial expressions and appreciate the physical movement at eye level created a much greater sense of domineering menace that I missed in June. But it was when Voldermort walked directly through the aisle by me that I was most intimidated. Even though I always knew this would happen, you never get a realisation of Voldermort's appearance from the balcony or appreciate the presence evoked when the character actually walks past you. Would I see the play again? Well yes for the Harry/Albus relationship, and as I have a ticket for the balcony late next year, which, having seen the beauty of the play up close, does not bother me. With 10 or so months to go, I imagine the play will be as impressive as the content less fresh; I read the play three times in the two months between my two visits so I'll stay away from that. Who knows what'll happen casting wise, and I adore the current cast, but the prospect of new interpretations intrigues me and makes me want to return. I'd be fascinated to see if another actor takes over from Sam Clemmett, and it so, if I still identify so much with Albus.
|
|
1,102 posts
|
Post by zak97 on Sept 3, 2016 21:08:14 GMT
It would have been good if it had started here, and ideally great for the current state of the West End if a new hit musical that could then be exported to Broadway, even if it is based on a film. That said, if it is good I think it is inevitable that this will end up in London at some point, the name of the film alone would sell this to even some of the most tentative punters, in my opinion, so it could realistically prop up one of the big theatres successfully. That said, if it is imported from Broadway, the producers will probably want to play it safe, put the full house sign out for social media, and put it in an Adelphi size theatre than risk playing to 'good but not full houses' in one of the 2000+ seat theatres. If this can't fill a 2000+ theatre, then I don't know what can... I can imagine this could fill 2000+ theatres for 6 months, but after that I would expect a dip, only slightly, but in a big theatre that is probably much more noticed.
|
|
1,102 posts
|
Post by zak97 on Sept 3, 2016 14:42:53 GMT
It would have been good if it had started here, and ideally great for the current state of the West End if a new hit musical that could then be exported to Broadway, even if it is based on a film. That said, if it is good I think it is inevitable that this will end up in London at some point, the name of the film alone would sell this to even some of the most tentative punters, in my opinion, so it could realistically prop up one of the big theatres successfully. That said, if it is imported from Broadway, the producers will probably want to play it safe, put the full house sign out for social media, and put it in an Adelphi size theatre than risk playing to 'good but not full houses' in one of the 2000+ seat theatres.
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 18:44:19 GMT
From Here to Eternity Stephen Ward
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 18:31:20 GMT
I wish it was public on Monday haha. At least this though should give an idea of the pricing structure. I wonder what the auditorium arrangement will be for this.
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 17:11:14 GMT
Sorry if this has been asked ages ago - I tried a quick skim and couldn't see it anywhere. Does anyone know if they have/will publish cast holidays? I realise that with it being totally sold out there's not much I can do if my tickets fall on a weekend when lots of the leads are off, but I'd rather go forewarned! I agree - I would be quite interested to know who I was seeing too! Whilst I would expect the box office would get some tickets returned, I imagine that there would still be a queue of people to take advantage of this, so I doubt the producers would lose out.
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 16:28:39 GMT
I doubt there will be a mad dash to book for this one, unless I am greatly mistaken. Yet, this does sound pretty interesting and I hope I'll make it in at some point as, even though they are right at the back of the theatre, there are so pretty cheap seats. Definitely can't wait to here some views on this.
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 13:30:35 GMT
Pleased for Natasha, but thinking about a strange casting given that Kim Kardashian, Kylie and Britney were all apparently offered the part.
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 9:45:09 GMT
I can no longer make my viewing for this Sunday - so if anyone wants to go I'd keep an eye on the website or join the returns queue for a really good stalls seat. I emailed Nimax last night, but am awaiting a response beyond the automated reply. Has anyone else returned and if so, how long does it take for them to reply and do they (Nimax) have a direct contact number.
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 8:01:39 GMT
The response to the tweet announcing that has replies varying from 'will this be on sale to the public', 'Is this opening night', and 'will Gary be there' suggest that the early performances will definitely be made up by the Gary fan club, an audience who understands a pop concert but not necessarily theatre etiquette, and similarly are going in hope of seeing Gary rather than the show. Having seen that I'm now quite tempted to wait a bit to see the show, in hope that the audience may be slightly more reserved.
|
|
1,102 posts
|
Post by zak97 on Sept 2, 2016 7:55:40 GMT
I do hope it gets like a limited run in the West End but it's nice they are doing it at the menier over Christmas!! So all that about Hedwig going there wasn't even true? I think it was just speculation about the Menier when the Hedwig rumour arose.
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 22:25:05 GMT
Wow! Natasha Barnes!!!
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 22:00:28 GMT
Ok, I'm booking ASAP!!
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 21:50:35 GMT
I wonder what will happen with casting. Will people want to hang around for a year taking small jobs, or take the plunge maybe with a show that may not run as well due to a lack of proven success.
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 21:36:31 GMT
Big question: is it worse than 'Exposure'?
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 20:28:42 GMT
Three days earlier and it would have been the perfect birthday present. Now wait till Christmas, or do I treat myself.
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 17:16:06 GMT
Yes and no. I don't generally get bothered about bad reviews, I almost always manage to find the positives in shows. The only issue I have, and try to go to previews to avoid this (and so that I can form my own opinion first), is when a show will receive fantastic praise, and although I may enjoy what I see, I am sometimes underwhelmed after so much hype.
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 16:51:07 GMT
Definitely agree on Gypsy, I like the detail of the many small sets, and even though they were not the most 'textured' sets. I like how the painted design reflect the character of the show. Having not been born, and would have been way to young for the last years of the original Miss Saigon, I wasn't bothered that the set was scaled down, but the effects very pleasing. City of Angels is probably my favourite, with Nell Gwynn and Hangmen also very credible. Even though I generally find 'projection sets' a bit of a cop out on the budget front, I was a fan of the Stephen Ward design, ...and show..., and liked the small set pieces mixed with projects so that the 'history' was dominant, but the overall effect lost in a too big theatre. I can't think of any sets I didn't like, but generally my least favourite set of the small theatres has to be The Trial at the Young Vic, although that may be influenced by my hate of the version.
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 16:37:08 GMT
I am fascinated by this production of Ghost, purely on the basis of whether the casting works....so I'll be keeping an eye on here for feedback. Having missed the original London production, and seen a bit of the show (well the start of the show as it was put up on youtube last week when Siobhan Dillon was starring), I feel like this could be up my street, depending of course whether the effects are as good as the originals. Fingers crossed for this one, I would hope they pull it off, but has Kenwright ever done a show that is so focused on illusionary effects before? That's my one of my main worries.
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 16:24:50 GMT
The Shakespeare trilogy is definitely on my list, if I can get tickets, as I especially want to see how the perform 'The Tempest' having studied it for A-Level and read about the many elaborate original stagings of the play. The Royal Court and Jamie Lloyd schemes are something I had forgotten, so thanks for that, and I'll need to keep an ear open for plays that may be up my street. One thing I hadn't heard of is the NT entry pass? www.nationaltheatre.org.uk/entry-pass£5 tickets to every show at the National, usually some rather good seats. They go quickly for most productions though! Oh, and also how does The Audience club work, I'm slightly confused by their website? But if it seems there is a lot more cheap theatre around than I had initially thought I could possibly do two big shows and one small production per month.
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 16:19:18 GMT
With starting university in London this month, I'll be hoping to see shows at the theatre a bit more often. For me, it's a been a show once a month, or at least once most months - but that has been mainly due to the cost of trains. Realistically, on a student budget, I doubt I'll be going once a month, but as someone who isn't mad about clubbing, I'll be hoping to maybe go once every other week if I can, definitely by dayseating and finding the cheapest tickets whenever possible, and finally getting the chance to see some of the fringe shows or long running musicals that I've always passed at seeing purely since there's a limited run I'd rather not miss. As a student in london you'll generally have the opportunity and flexibility to take advantage of the cheaper tickets, so you may end up seeing more than you think! There's some really good cheap schemes around - NT entry Pass, Donmar Young and free for their Shakespeare trilogy, Donmar front row, Royal Court Monday nights for £10, Jamie Lloyd's £15 Mondays on many of his shows. For fringe stuff you could join Audience Club and see a lot of stuff for just a small booking fee. Oh, and it's not theatre, but www.bfi.org.uk/25-and-under is worth signing up for. The Shakespeare trilogy is definitely on my list, if I can get tickets, as I especially want to see how the perform 'The Tempest' having studied it for A-Level and read about the many elaborate original stagings of the play. The Royal Court and Jamie Lloyd schemes are something I had forgotten, so thanks for that, and I'll need to keep an ear open for plays that may be up my street. One thing I hadn't heard of is the NT entry pass?
|
|
1,102 posts
|
Post by zak97 on Sept 1, 2016 15:17:51 GMT
Ah, I had completely forgotten Gemma had said that. I haven't seen anything, aside from 'The Vote' that has been filmed live at the Donmar. Does the intimacy of the small space do the cameras any favour with regards to the quality of filming shots. Providing the cinema tickets aren't too expensive, I'll probably try this, I thought Gemma was fabulous in Nell Gwynn, if I have no luck with the front row.
|
|