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Post by david on Nov 4, 2018 0:16:10 GMT
After a day of theatre in Manchester, I’ve finally got the chance to post my thoughts on the Royal Exchange production I saw this afternoon. To sum the production up, it was an absolutely fantastic piece of theatre. Don Warrington as Willy Loman in my opinion gave an outstanding performance and to see him take the character on this downward spiral of a journey to it’s inevitable heart breaking outcome was an absolute pleasure to watch. Maureen Beattie was equally outstanding and gave a brilliant portrayal as Mrs Loman.
Having waited a long time to see a production of the play, this production didn’t disappoint and during the interval I got chatting to a couple of people around me and we all agreed that the directors decision to have a stripped back staging really helped as you could focus on the text and the performance.
If you’ve got a ticket to see this, you are in for a great time at the theatre. As an aside, I would like to say that whoever has done the programming of the productions this year has done a fantastic job. I’ve enjoyed all the productions I’ve seen in 2018 here and with the recent announcement for 2019, it looks like potentially another great year at the Royal Exchange.
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Post by Rory on Dec 3, 2018 14:40:43 GMT
Interesting to see that two directors are now being credited for the Young Vic production - Marianne Elliott and Miranda Cromwell.
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Post by emicardiff on Dec 3, 2018 15:30:21 GMT
Interesting to see that two directors are now being credited for the Young Vic production - Marianne Elliott and Miranda Cromwell. Miranda was the assistant for Company and one of two assistants for the Angels Broadway transfer, so I assume she's been 'promoted' as part of being mentored by Marianne across a few productions. Really interesting and perhaps something she's planning on taking forward- moving from assistant to co-directing with someone.
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Post by princeton on Dec 3, 2018 15:35:05 GMT
Very interesting. Miranda Cromwell was the staff director on Angels in America at the National (and Associate for the B'way transfer) and is the Associate Director on Company, so very used to collaborating with Marianne Elliott. She's also worked with lots of other good people including Debbie Tucker Green, Tom Morris and the late Howard Davies, as well as directing the rather excellent Half Breed for Talawa. Brilliant that she's getting this opportunity.
Perhaps it's also an indication that Marianne might be splitting her time during the April rehearsal period......
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Post by princeton on Dec 3, 2018 15:48:31 GMT
Really interesting and perhaps something she's planning on taking forward- moving from assistant to co-directing with someone. I agree - I hope that it's a policy adopted by more and more directors - giving assistants and associates an opportunity to co-direct. It would certainly help broaden the field. Often, particularly in long running shows, the AD is the only one involved with rehearsing new casts (admittedly based on the work of the original director) yet you need a magnifying glass to find their credit.
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Post by andrew on Jan 11, 2019 15:40:54 GMT
I'm trying to book an Under 25 ticket for a date in May (it's zone B, best available) and when I put it in my basket I get "X Seat 439" as a seat number, but I noticed it is the same for other dates as well, so I guess it's not a seat number but some sort of system code? How will I know what seat I got?
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Jan 11, 2019 15:54:26 GMT
This is standard for the Young Vic - as you say, just a code. They may not have worked out the seating plan yet (eg for Jesus Hopped the A Train the plan has only just appeared on the site).
You'll either find out your seat when you pick up the ticket, or I think they will tell you if you call nearer the date. No way of checking online though which is a bit annoying.
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Post by jampot on Jan 11, 2019 16:53:09 GMT
I'm trying to book an Under 25 ticket for a date in May (it's zone B, best available) and when I put it in my basket I get "X Seat 439" as a seat number, but I noticed it is the same for other dates as well, so I guess it's not a seat number but some sort of system code? How will I know what seat I got? If you book by phone you can add a preference...and they will try and accomadate within your chosen price band....
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Post by Deleted on Feb 4, 2019 16:28:35 GMT
Oooooh, there's a Seadon-Young in it!
Boom. Booked!
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Post by emicardiff on Feb 4, 2019 17:14:07 GMT
@ryan doing the lord's work with pictures today.
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Apr 2, 2019 15:35:43 GMT
The Young Vic has released extra tickets for most dates of Death of a Salesman. Also the seating plan is now available on the booking site - I believe if you booked direct you can call the box office and find out where your seat is (and presumably swap it if there are tickets available)
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Post by nash16 on Apr 29, 2019 17:49:43 GMT
Tickets back on sale for nearly all dates, apart from the £5 preview tomorrow and Press Night. Including some front row £10 and good £25 for the previews. Get in fast!
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Post by Deleted on Apr 29, 2019 18:19:28 GMT
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959 posts
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Post by nash16 on Apr 29, 2019 18:30:46 GMT
Babes! You know your stuff!
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Post by Mark on Apr 29, 2019 18:48:45 GMT
Checked a handful of dates and clearly wasnt fast enough, just the same 3-4 £40 tickets for each date,
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Post by nash16 on Apr 29, 2019 18:50:42 GMT
Checked a handful of dates and clearly wasnt fast enough, just the same 3-4 £40 tickets for each date, There's a few pairs in the previews still going for £25 (Thursday 2nd May, Sat 4th May) and some singles on other nights, if you get in quick now!
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4,520 posts
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Post by Mark on Apr 29, 2019 18:59:03 GMT
Checked a handful of dates and clearly wasnt fast enough, just the same 3-4 £40 tickets for each date, There's a few pairs in the previews still going for £25 (Thursday 2nd May, Sat 4th May) and some singles on other nights, if you get in quick now! Nothing for my currently available dates unfortunately (10/13/21/22May & 15June). Hopefully more may be released this week once previews start.
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Post by londonpostie on Apr 29, 2019 22:06:27 GMT
So looking forward to this at the Young Vic - interesting co-directors, and WHAT a cast!! Really can't wait
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Post by gmoneyoutlaw on Apr 29, 2019 23:52:39 GMT
I saw that they opened up seats two weeks ago and jumped on it. I only needed a single and £40 is in my price range. I've never been to the Young Vic so that will be exciting for me as well. I really love Sharon D. Clarke and amazing that she will give such a vital speech in a classic play.
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Post by londonpostie on Apr 30, 2019 7:58:06 GMT
ah, do you not have a different thread for each distinct production?
The new Young Vic version is a very differet beast, imo ..
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on May 1, 2019 9:44:16 GMT
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1,894 posts
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Post by sf on May 1, 2019 19:24:15 GMT
...and really good availability in all price bands, which isn't going to be the case for long. I wasn't going to bother - after The American Clock and All My Sons I thought I was All Millered Out - but I'm interested to see these actors in these roles, I've an afternoon free in London during the extension on a day there's a matinee, and my FOMO arm-wrestled my Visa card and won. Looking forward to it.
I expect going straight from this to Mamet's 'Bitter Wheat' (seeing it that evening) is going to be... interesting.
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Post by MrBunbury on May 3, 2019 8:06:23 GMT
I saw it last night. Beautiful production and solid performances that will surely become even more assured as the run goes on (Arinze’ Kene became a bit shrieky in a key scene and I struggled to understand what he was saying). I was out at 10,40 pm.
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Post by Fleance on May 3, 2019 9:23:37 GMT
I saw it last night as well and had no problem with Mr. Kene's excellent performance. Great production, well tailored to the new milieu.
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Post by latefortheoverture on May 3, 2019 18:08:49 GMT
There was intention to transfer this at first, correct?
Do we think the extension is a sign it won't be transferring now?
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Post by Rory on May 3, 2019 18:23:14 GMT
There was intention to transfer this at first, correct? Do we think the extension is a sign it won't be transferring now? Won't be direct, if it happens, as SDC going to the Kiln.
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Post by londonpostie on May 3, 2019 20:02:17 GMT
I'd imagine Wendell Pierce has irons in the fire, as well. Here for the experience and then back to New Orleans and lucrative small screen drama.
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Post by callum on May 4, 2019 23:49:37 GMT
There tonight (so was Marianne) and this is absolutely stunning! She totally breathes life into this production and makes it seem frankly unbelievable that it was written 70 years ago. Gorgeous set, fabulous music, and simply the most shattering performances I've seen in for ages from Wendell Pierce. Sharon D Clarke gets her moment towards the Act 1 and she gives it both barrels! The whole experience was so rich and so textured, I am gobsmacked that it was still only a preview. All of the cast at the curtain looked overcome with emotion, and I'm sure that that's how the audience felt too. Pure theatre and totally extraordinary.
Needless to say, 5 stars. This MUST transfer so everyone gets the chance to see it!
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Post by tmesis on May 5, 2019 0:16:49 GMT
I was there callum too tonight and I absolutely agree with your excellent review. It was an outstanding production and set of performances. The production is very stylised but that just adds to the play's power and startling modernity. The quartet of family actors were just sensational and it was wonderful that we had such classy singers in the cast as the music added greatly to the emotional impact. You could actually feel the audience hanging on every word it was so good and I was pleased the ecstatic audience response at the end moved the actors so much - particularly Wendell Pierce.
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Post by Snciole on May 5, 2019 17:44:57 GMT
I hadn't seen this before but I thought the casting of a black family really worked, especially in the context of Charley and Bernard being white. These young men would be lost after the war, they would be even more lost as young black men who may have been segregated. Wendell Pierce was a wonderful tragic figure, you can believe as Howard Jr states, that he was never that great a salesman but he seemed a nice bloke. Sharon D Clarke, Arinze Kene and Martins Imhangbe are incredible. Imhangbe feels like a real find.
I only paid £10 for my seat and was worried it would be a disaster but very happy with my upstairs, stage left seats.
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