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Post by Deleted on Sept 11, 2018 10:59:38 GMT
I just had to switch my tickets for this from Friday 21st to Saturday 22nd, so there are two brilliant Friday night circle tickets now available. They sell them as restricted view (rail in eye line) but it's not.
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Post by Steve on Sept 11, 2018 15:16:31 GMT
it was apparently 40 minutes last week and nearly one hour 25 mins last night From that, it appears that "the final 15 minutes" was actually "the final 45 minutes," since the show ended at 10:05pm when I saw it.
Now I will have to find the time to see this before the run completes, as I'm desperate to see the quarter of the show I missed, and I'm enjoying seeing the show grow and improve.
They should make it 40 minutes longer every week, then they could sell me one ticket every week. 
I assume and hope that the fact that every show is now marked "preview" means that the critics will NOT get to review the show on the 17th, as previously announced, as this has such potential to be a massive show, and it would be a shame to tar it with bad reviews because it's not quite ready. |
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Post by bellboard27 on Sept 11, 2018 15:42:34 GMT
I found this good, but not stand out. The best of it was the music. Weakest was the dramatic structure. In the middle was the choreography, which at times was great and at other times a bit of a mess.
Musically I liked the range of styles and moods – it all added to a good exploration of the changing issues. Some have mentioned sound issues. To begin with from the dress circle I thought the sound was good, but it did have its off moments!
Dramatically, there were some aspects I liked. I liked the exploration of the division in the movement between those willing to countenance violence and those not (it would have been interesting to explore the extension of the violence beyond targeting political opponents, such as burning churches and libraries, bombs on trains, etc., as that divided opinion hugely in the movement).
I did not like how they addressed the opposing arguments. The arguments supporting women’s suffrage were set out rationally, but the opposition was presented as comic caricatures. I find that this approach diminishes the dramatic flow. The arguments may not seem rational now, but presenting them as such would show what the women faced.
Also, I was not keen on a narrator. I prefer the drama to be self-explanatory. Anyway, was there a reason that for most of it the narrator was a man? I’m sure there is an obvious explanation, but it did feel odd. It felt like “this is the story of the struggle women faced to be heard and this man is going to explain it to you”. Maybe that was the intent in some pointed statement of the role of men, but if so that was not clear to me.
Finally, I wonder what the marketing has been on this. When I went there was several groups with small children (down to 6-7 years old). Some left at the interval. Did the Old Vic promote young people’s participation, but this ended up attracting some very young audience members?!
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Post by Steve on Sept 11, 2018 15:56:12 GMT
The arguments supporting women’s suffrage were set out rationally, but the opposition was presented as comic caricatures. It felt like “this is the story of the struggle women faced to be heard and this man is going to explain it to you”. Maybe that was the intent in some pointed statement of the role of men, but if so that was not clear to me. Completely agree.
Although I did find the B-story of male oppression (John Dagleish et al) very funny, the A-story, represented by Winston Churchill, felt like it needed to be more of a serious dramatic obstacle, something wound up in logic at the beginning, even if it's just the Bible, that could then be deconstructed by the Suffragettes.
And the narrator also grated with me, for the reasons you say. Lin-Manuel Miranda solved the problem perfectly by making his narrator integral to the story, the antagonist, Aaron Burr. Here, the narrator is not so integrated, and having it be a man does indeed seem quaint, as if we will take a man more seriously. And if that is the reason, say so, make something of it, make us laugh about it, then have him be kicked off the stage by a woman lol! |
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Post by Snciole on Sept 12, 2018 18:10:59 GMT
A colleague went to see it (it sounds like they acted as if it was press night, even if the press weren't allowed to talk about it) and she said the ending seemed rushed rather than rather technically difficult. I am staggered that Katie Prince is so unprepared and that she got these huge names on the basis of something that doesn't like it was ready for rehearsals. I am seeing it on Saturday and word of mouth suggests it is a very good show but not ready yet.
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Post by Deleted on Sept 13, 2018 6:54:26 GMT
A colleague went to see it (it sounds like they acted as if it was press night, even if the press weren't allowed to talk about it) and she said the ending seemed rushed rather than rather technically difficult. I am staggered that Katie Prince is so unprepared and that she got these huge names on the basis of something that doesn't like it was ready for rehearsals. I am seeing it on Saturday and word of mouth suggests it is a very good show but not ready yet. Didn’t Hamilton start off-Broadway? I know that this isn’t exactly the same, but if the show’s eventually a giant hit, everyone will be boasting they saw it at the Old Vic. |
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Post by Snciole on Sept 13, 2018 9:35:16 GMT
A colleague went to see it (it sounds like they acted as if it was press night, even if the press weren't allowed to talk about it) and she said the ending seemed rushed rather than rather technically difficult. I am staggered that Katie Prince is so unprepared and that she got these huge names on the basis of something that doesn't like it was ready for rehearsals. I am seeing it on Saturday and word of mouth suggests it is a very good show but not ready yet. Didn’t Hamilton start off-Broadway? I know that this isn’t exactly the same, but if the show’s eventually a giant hit, everyone will be boasting they saw it at the Old Vic. That is a fair point which makes me wonder why she didn't go to Sadlers Wells or Peacock Theatre with Sylvia as work in progress piece. |
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Post by paddy72 on Sept 13, 2018 16:11:52 GMT
Before there was Hamilton there was ‘Into the hood’ from Kate Prince and Zoo Nation. Way ahead of their time. Their influence can be felt all over this amazingly brilliant new show. It is so thrilling that all I can say is that everyone has got to scramble to get to see it. Beverley Knight as Emmeline Pankhurst has created a new musical character on a par with Evita. She is simply awe inspiring. The understudy replacement for Sylvia is the stuff of theatrical legend. The whole cast are really really really special. I loved Churchill and his mother Jenny. I overheard staff in the interval saying that people have been rebooking instantly and that producers are flying in to see it, before it’s short run ends, and urgently looking for a transfer to a larger house whilst the cast is still together. Please god they manage it as I will go again and again. This is a production that crosses over and beyond everything that has gone before it. Another new Old Vic smash. See it. See it. SEE IT!!!!!!! before it’s too late....
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Post by anthem on Sept 13, 2018 16:36:53 GMT
I saw the show this afternoon. It seemed like a full house from what I could tell. There’s a lot to be happy with- the performances are uniformly excellent. It was my first time seeing Beverley Knight sing live and she’s incredible. Her acting is not quite at the same level but she’s still very good. Maria Omakinwa did a great job as Sylvia- it’s admirable what she’s done with the role in just a few performances. Witney White was excellent as Christabel Pankhurst. The others were great too.
There are a few great songs and outstanding emotionally resonant moments. In particular, there is a sequence which closes the first half which is stunning. There are some really well choreographed moments, and some humour too. It was great to see a bit more diversity in the audience, which is sadly lacking at times.
If I was to be negative, it feels too long and badly needs to be edited. I found it dragged in both halves of the show and I would be lying if I said it wasn’t boring at times. The staging is very simple, which is effective for the most part but it’s not always that engaging to watch. There just doesn’t feel like much dramatic urgency at times.
I would watch it again but only if it had been tweaked. At the moment it’s a 3/3.5 star show when it could be a five star.
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Post by kathryn on Sept 13, 2018 16:39:07 GMT
If it’s going to be a huge crossover hit then surely there’s no rush to see it - it’ll transfer into the west end and run for years.
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Post by firefingers on Sept 13, 2018 17:07:32 GMT
SEE IT!!!!!!! before it’s too late.... I mean, some of us saw it too early and only got 75% of the show... if we leave it longer will it grow again I wonder. |
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Post by theatreian on Sept 13, 2018 17:15:36 GMT
Saw this week and had to leave at the interval due to the abysmal view from the seat. Not been to the Old Vic for a while and have only sat in the stalls before but for this we sat in the dress circle on the side row y, but the view was appalling . You could only see about 25% of the stage. In this day and age theatres should simply not be selling this sort of view. Apart from that we really didn't enjoy the show anyway! Must be my age I guess as after seeing The king and I in the afternoon it was like chalk and cheese. We all have different tastes and this was not ours. Had I have realised the musical content prior we would probably not have booked but it didn't seem to ring true at all given the time period and subject matter. The cast were giving it their all though ad most people seem to be enjoying it so ignore me!
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Post by latefortheoverture on Sept 13, 2018 17:18:46 GMT
So do we this expect this to transfer?
I'm kind of stressing as I'm dying to see it, but I don't really have the time!!!
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Post by charmedjean on Sept 13, 2018 17:21:38 GMT
I saw it last night - incredible show! It was pretty much sold out. The show started a few mins late and ended at 10:40pm. So much energy from the cast! I didn't check the cast board (is there one?) so I didn't know an understudy was on for Sylvia! Maria Omakinwa did a fantastic job! It was only when she had to read from a script in parts of Act 2 that it clicked (I thought it was a prop) but she did incredibly well, so many lines to remember and loads of fast lyrics!
The show did seem a little bit long and they can probably cut/shorten a few scenes. The whole cast did a brilliant job. Go see it if you can! There are only limited tickets available now but I can see some returns in the stalls popping up every now and then, best to check with the Box Office in case they haven't posted it up (they need to sell out before they can post them up...)
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Post by showgirl on Sept 13, 2018 20:41:04 GMT
I called in today to book ahead and avoid the fee, since I was in London anyway. It was interval time for the matinee and busy, though according to the Box Office assistant, evenings are very booked up and matinees quieter. I asked one man if he was enjoying it and he said he was; generally there seemed quite a buzz and a good atmosphere.
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Post by jamb0r on Sept 13, 2018 21:51:27 GMT
Well there’s definitely a good show in there somewhere! Some fantastic performances, I loved a lot of the songs (the song after Emily Davison’s death was a highlight) and the choreography was outstanding in parts. But it needs a lot of work and some serious trimming. Got out of the theatre at 22:40 tonight, 3 hours and 10 minutes is far too long, and some of the sequences were reaaaaaally boring.
With a bit of work, this could be something special.
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Post by showgirl on Sept 14, 2018 3:42:33 GMT
Any other seniors here, remember at matinees you can buy the best available for £26. I've seen no better offers, surprisingly, but even if there are/were some, I'm happy with my top-price central stalls seat for that price.
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Post by latefortheoverture on Sept 14, 2018 10:29:44 GMT
Any other seniors here, remember at matinees you can buy the best available for £26. I've seen no better offers, surprisingly, but even if there are/were some, I'm happy with my top-price central stalls seat for that price. I did get an 'offer' for the matinee yesterday for £8 top price tickets, hopefully it'll be the same next week as need to move a few bits to fingers crossed get to the matinee. |
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Post by showgirl on Sept 14, 2018 11:15:54 GMT
Wow, brilliant - wd've loved that but I don't receive any for the Old Vic & too late gor me now anyway.
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Post by wickedgrin on Sept 14, 2018 12:38:05 GMT
Any other seniors here, remember at matinees you can buy the best available for £26. I've seen no better offers, surprisingly, but even if there are/were some, I'm happy with my top-price central stalls seat for that price. Tried to book next Wed matinee (19th) for this (lots of availability) but on the Old Vic website - there was no discount from 45 quid? Where is the 26 pound offer? |
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Post by showgirl on Sept 14, 2018 13:07:04 GMT
Any other seniors here, remember at matinees you can buy the best available for £26. I've seen no better offers, surprisingly, but even if there are/were some, I'm happy with my top-price central stalls seat for that price. Tried to book next Wed matinee (19th) for this (lots of availability) but on the Old Vic website - there was no discount from 45 quid? Where is the 26 pound offer? i booked in person but I'd checked the website in advance and it's on there under "Concessions" so I simply referred to that. But maybe you'd have to email or ring to ask how to access it online. |
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Post by TallPaul on Sept 14, 2018 13:13:01 GMT
From the Old Vic website "Unfortunately concessions cannot be bought online, please call 0844 871 7628 if you would like to purchase these tickets."
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Post by wickedgrin on Sept 14, 2018 13:14:23 GMT
Thanks for that.....at least it wasn't me being thick using the website. To go or not to go, that is the question!
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Post by Snciole on Sept 15, 2018 18:51:44 GMT
I saw the show this afternoon. It seemed like a full house from what I could tell. There’s a lot to be happy with- the performances are uniformly excellent. It was my first time seeing Beverley Knight sing live and she’s incredible. Her acting is not quite at the same level but she’s still very good. Maria Omakinwa did a great job as Sylvia- it’s admirable what she’s done with the role in just a few performances. Witney White was excellent as Christabel Pankhurst. The others were great too. There are a few great songs and outstanding emotionally resonant moments. In particular, there is a sequence which closes the first half which is stunning. There are some really well choreographed moments, and some humour too. It was great to see a bit more diversity in the audience, which is sadly lacking at times. If I was to be negative, it feels too long and badly needs to be edited. I found it dragged in both halves of the show and I would be lying if I said it wasn’t boring at times. The staging is very simple, which is effective for the most part but it’s not always that engaging to watch. There just doesn’t feel like much dramatic urgency at times. I would watch it again but only if it had been tweaked. At the moment it’s a 3/3.5 star show when it could be a five star. This is my opinion. It is a good work in progress show but the flow is terrible and I don't think the issues can solely be blamed on Genesis Lynea (who after hearing on Six soundtrack I am sad to miss in this) being unwell. After seeing the show I can see why she was exhausted. There is too much there and I am baffled they didn't see that at rehearsal level. For me I am not sure if this is about Sylvia's politics or her love life, they crossed over but they need to decide on a focus before they can say this show is ready. I think it also wants to showcase John Dagliesh as Hardie and Beverley Knight as Emmeline (YAS KWEEN BEVERLEY, that voice at times she seemed to channel Prince (the singer, not Kate), it can't have its cake and eat it. I think if this comes back, and crucially without those big names, they will have to be much smaller characters for this show to keep the energy. The cast is having a ball, Kate Prince will go down as one of Britain's great choreographers and there are some really good numbers and scenes, particularly Jade Hackett as Jennie Churchill (A lot of the audience identified with the interfering Caribbean mother in law) but it cannot continue to be 3 hours plus during its current run or in the future. Maria Omakinwa is a star in the making taking on the lead role at short notice and my standing ovation (though all the cast are fantastic) was primarily for her, it is not an easy role and the book in hand could have been a distraction (it wasn't until the difficult rap in the second half that I even noticed that was its purpose. I thought it was Sylvia's 'To do' folder as she was such a busy woman) but at the end of the show that is what the audience were talking about, not the production. I also don't think this is the right venue and I am wondering what the Old Vic commisioned this on because it feels like that beyond a few tracks it wasn't ready and it is still struggling now. |
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Post by foxa on Sept 15, 2018 19:16:37 GMT
There is (surprisingly perhaps) another Suffragette hip hop musical making the rounds (there was a feature about it on tv and an excerpt from it was shown at a big festival.) qz.com/quartzy/1215093/hamiltons-british-cousin-is-a-hip-hop-musical-on-the-suffragettes/ I wonder if they rushed this one on because there would be a big advantage to being first. Snciole's opinion pretty much matches my daughter's and mine. We were glad to see it and there were patches of excellence, but then awkward transitions, sound cues not right, bits that seemed to be in strange places so momentum didn't drive forward. I loved the poppy Sylvia/Sylvio song - but odd to introduce that character and that bit of whimsicality more than three hours in! Some really awkward staging - why did Keir Hardie put Sylvia's folder/album - what the hell was it? - and some book under his thigh at one point? On Thursday night the keyboardist and drummer seemed to have words (or certainly an animated discussion after a loud weird noise) and then shook hands - on stage while a scene was going. But tonnes of talent on display. |
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