|
|
Post by Deleted on Jun 6, 2018 8:06:16 GMT
I might be a bit 'tired and emotional' but that made me well up a bit.
On one hand yes, I'm all for the 'keep the West End/Broadway changing' mantra- it is good for business and good for theatre in reality. But who wants reality in the theatre right?
When you really love a show, you have a connection to it, and when it's a reasonably long runner (say a year or so not a few months) well we also 'become accustomed to her face' and it's hard to think of it not being there. More to the point those shows that come along once in a while, we leave a piece of us behind with us. Yes it's dramatic but also true.
I'm fascinated by the connections we forge with the buildings too- a part of my research that I still love is the importance of the theatrical buildings to audiences particularly when they have a connection to performances in them as you've described above. For me I've not gone back to the Nederlander since Rent closed (by default not design) and I wonder how I'll feel when I do, as I know many fans struggled because the physical space became so tied up in the show.
So yes, it's the beauty of theatre that's it's ephemeral, but also for the shows you love that's the hardest part too. (I kind of feel like there's a whole thread in this 'shows we loved and lost')
|
|
7,198 posts
|
Post by Jon on Jun 6, 2018 8:55:13 GMT
^I think because I rarely revisit a show, I have no sentimentally or attachment towards a particular show so a closure to me isn’t a sad occasion
|
|
|
|
Post by Deleted on Jun 6, 2018 9:12:09 GMT
I won't lie, I get sad about brilliant shows closing. And seeing as it is rumoured some of my favourite shows will soon bow out (Kinky Boots and 42nd Street), as well as Dreamgirls confirmed, Spring 2019 will be dark times for me. 😂😂
|
|
|
|
Post by Deleted on Jun 6, 2018 10:03:09 GMT
I'm fascinated by the connections we forge with the buildings too- a part of my research that I still love is the importance of the theatrical buildings to audiences particularly when they have a connection to performances in them as you've described above. For me I've not gone back to the Nederlander since Rent closed (by default not design) and I wonder how I'll feel when I do, as I know many fans struggled because the physical space became so tied up in the show.
So yes, it's the beauty of theatre that's it's ephemeral, but also for the shows you love that's the hardest part too. (I kind of feel like there's a whole thread in this 'shows we loved and lost') [/quote]
I totally get the loss when long runners close and the connection to the theatre.
For me it was Cats at New London and Starlight Express at Apollo Victoria. My favourite musicals and I felt the original productions were perfect in these theatres. Even now when I visit either theatre I imagine the Cats/Starlight set in there and I feel sad they’ve gone forever. The fact that they were not proscenium arch shows makes it all the more intense.
Les Mis was also a great “fit” at the Palace and for me lost something when it moved....
|
|
4,156 posts
|
Post by kathryn on Jun 6, 2018 11:10:15 GMT
I think I have the opposite reaction to long-runners closing compared to most of you - I kinda assume that everyone who wanted to see it had the chance to (multiple times in some cases), so they don't make me sad. All good things....
It's when brilliant new shows close before people have had a chance to see them because they just didn't find their audience that I feel sad. Groundhog Day closing on Broadway when the Bill-Murray-goes-2-nights-in-a-row stunt had *just* made a lot of people aware of it was a kicker. I've seen so many people online say 'why didn't I know about that?!'
|
|
7,198 posts
|
Post by Jon on Jun 6, 2018 12:37:59 GMT
I might be a bit 'tired and emotional' but that made me well up a bit. On one hand yes, I'm all for the 'keep the West End/Broadway changing' mantra- it is good for business and good for theatre in reality. But who wants reality in the theatre right? When you really love a show, you have a connection to it, and when it's a reasonably long runner (say a year or so not a few months) well we also 'become accustomed to her face' and it's hard to think of it not being there. More to the point those shows that come along once in a while, we leave a piece of us behind with us. Yes it's dramatic but also true. I'm fascinated by the connections we forge with the buildings too- a part of my research that I still love is the importance of the theatrical buildings to audiences particularly when they have a connection to performances in them as you've described above. For me I've not gone back to the Nederlander since Rent closed (by default not design) and I wonder how I'll feel when I do, as I know many fans struggled because the physical space became so tied up in the show. So yes, it's the beauty of theatre that's it's ephemeral, but also for the shows you love that's the hardest part too. (I kind of feel like there's a whole thread in this 'shows we loved and lost') I’m the opposite, I’m more excited when the theatre which has had a long Runner becomes free and has a new show because it mean I can visit it for the first time in a long time. This was especially true for The Phoenix when I saw Goodnight Mr Tom and Once after Blood Brothers had closed and also Book of Mormon at the Prince of Wales |
|
|
|
Post by Deleted on Jun 6, 2018 12:41:43 GMT
Can't it be both? I miss the Novello and I hope to be able to visit it again some day without having to see Mamma Mia!, but I'll definitely mourn the show and the times I spent there and the things it has meant to me when Wicked finally shuts up shop. Turnover is very natural and healthy, but it's worth bearing in mind that theatre doesn't last forever (unless you're a serious Mousetrap stan or something) and when it's gone, you'll never have the opportunity to see that show again. Just because babies are nice doesn't mean you don't mourn your grandparents.
|
|
7,198 posts
|
Post by Jon on Jun 6, 2018 12:43:51 GMT
I get the feeling no one will mourn Thriller when it finally closes
|
|
|
|
Post by Deleted on Jun 6, 2018 12:56:14 GMT
I don't get people being sad over a show closing especially ones that have run more than a year. Surely it's the nature of the West End that shows will eventually close and be replaced with new shows. Try telling that to Agatha Christie! |
|
7,198 posts
|
Post by Jon on Jun 6, 2018 12:58:46 GMT
I don't get people being sad over a show closing especially ones that have run more than a year. Surely it's the nature of the West End that shows will eventually close and be replaced with new shows. Try telling that to Agatha Christie! The only thing that’ll close that show is the Apocalypse or WWIII |
|
|
|
Post by Deleted on Jun 6, 2018 13:02:21 GMT
Try telling that to Agatha Christie! The only thing that’ll close that show is the Apocalypse or WWIII I like that. I don't ever want The Mousetrap to close, there's something wonderfully comforting about its lengthy existence. It'll be like the ravens in the Tower of London, if The Mousetrap closes, the whole of London's glitzy West End will collapse. |
|
|
|
Post by Deleted on Jun 6, 2018 13:04:13 GMT
The only thing that’ll close that show is the Apocalypse or WWIII I like that. I don't ever want The Mousetrap to close, there's something wonderfully comforting about its lengthy existence. It'll be like the ravens in the Tower of London, if The Mousetrap closes, the whole of London's glitzy West End will collapse. I agree. Even though I am yet to see it, I like that it is there. It's almost like a landmark in London, it'd be a shame to see it close. |
|
5,161 posts
|
Post by TallPaul on Jun 6, 2018 13:28:05 GMT
Although The Mousetrap is perfectly able to get by on relatively small houses, what if all the building work next door causes so much disruption that they fall to uneconomic levels, especially as the production now has a new, perhaps more ruthless, less sentimental Producer?
I think we need to petition the Culture Secretary!
|
|
|
|
Post by Deleted on Jun 6, 2018 14:04:08 GMT
Five billion years from now when the sun has swollen up and Earth is a scorched cinder there'll still be The Mousetrap, "Now in our 5,000,000,066th year!"
|
|
|
|
Post by Deleted on Jun 6, 2018 14:38:29 GMT
I get the feeling no one will mourn Thriller when it finally closes There should be a Theatre Board party to celebrate. |
|
7,198 posts
|
Post by Jon on Jun 6, 2018 15:17:27 GMT
Five billion years from now when the sun has swollen up and Earth is a scorched cinder there'll still be The Mousetrap, "Now in our 5,000,000,066th year!" I have this theory that the St Martin's Theatre will turn to dust once The Mousetrap plays its final performance. |
|
|
|
Post by Deleted on Jun 6, 2018 18:05:56 GMT
I get the feeling no one will mourn Thriller when it finally closes Thriller is like the racist horrible Uncle who hung around for far longer than they should and everyone breathed a not-so-secret sigh of relief when he finally died. |
|
|
|
Post by Deleted on Jun 7, 2018 8:39:39 GMT
I actually don't mind 'Thriller' being there, I don't really take any notice of it nowadays and don't even consider it when I'm thinking about London's glitzy West End. There are other things I'd like to see finish before I get bothered by 'Thriller' such as 'Hamilton', 'Wicked' and 'Motown' (although I do admit that I would put 'Motown' in the same category as 'Thriller', in the sense that I kind of forget it's there).
|
|
|
|
Post by profquatermass on Jun 10, 2018 12:43:36 GMT
I thought Nothing Like a Dame was smug, self-indulgent and disappointingly short on actual gossip
|
|
3,040 posts
|
Post by crowblack on Jun 11, 2018 10:44:54 GMT
Mixed feelings - my Mum loved it as the tv equivalent of sitting down to a nice tea with some old friends, but neither of us found it as illuminating as we'd hoped. |
|
3,040 posts
|
Post by crowblack on Jun 11, 2018 10:53:23 GMT
I can't stand Rupert Everett. He doesn't have the talent to match his ego, and seems to be always making programmes on the likes of Wilde and Byron in the belief that he's the modern successor to both. In the latter he made a vile comment about women and the smell of fish (yes, really) which if he'd done in today's climate would have rightly seen him shot down in flames.
|
|
849 posts
|
Post by duncan on Jun 12, 2018 7:20:26 GMT
I'm the same with Richard E Grant, David Tennant, Juliet Stevenson and Emma Thompson - a collection of smug gits who I try and avoid at all costs on stage and screen. I cant understand how any of them have made a living out of acting.
|
|
4,156 posts
|
Post by kathryn on Jun 12, 2018 8:51:49 GMT
I'm curious - What does 'smug' actually mean to you? Because I often see people describe those they don't like as 'smug', and they never fit the dictionary definition: having or showing an excessive pride in oneself or one's achievements.
|
|
849 posts
|
Post by duncan on Jun 12, 2018 9:34:26 GMT
I generally use smug to mean one that is overly self satisfied with themselves, for no good reason that I can see in any of those 4 named instances.
|
|
4,156 posts
|
Post by kathryn on Jun 12, 2018 9:41:30 GMT
I generally use smug to mean one that is overly self satisfied with themselves, for no good reason that I can see in any of those 4 named instances. But people always complain about very successful and famous people being smug. And surely if you're very famous and successful in your chosen career, you're allowed to be at least a bit satisfied? I guess my query is: what's the appropriate level of self-satisfaction for someone who has had a very successful career? I mean, if - as you believe of these four examples - you're not actually very talented, and yet you've managed to have a very successful career, surely you are justified in feeling more self-satisfied than someone who is more talented and has been less successful? |
|
