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Post by Phantom of London on Aug 4, 2017 21:26:43 GMT
It's a journey ai would do myself, as struggle to see something else after the Watermill, as nothing is too local to that theatre, the only thing that would stop me doing what you did would be the cost in petrol coming down from Kent, I probably be looking at £60 - 70, but would if I need to , when I saw Night Music I managed to get the 17:55 back to London and just made the Hired Man at the Union, didn't buy a ticket in advance in case I was late, in which case I would have gone to the Menier to see Adrian Mole that starts at 8pm.
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Post by showgirl on Aug 5, 2017 4:26:40 GMT
CFT is telling patrons this in their "You are coming to see" email, but for those who travel by car and don't yet know, the council has now extended chargeable parking hours from 6 pm to 8 pm. Not surprising, really, as that catches matinee audiences staying on to eat, those eating before the evening performance and those doing the double. An instance when using public transport would be a better option - if only it could be relied upon.
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Post by CG on the loose on Aug 5, 2017 7:53:08 GMT
CFT is telling patrons this in their "You are coming to see" email, but for those who travel by car and don't yet know, the council has now extended chargeable parking hours from 6 pm to 8 pm. Not surprising, really, as that catches matinee audiences staying on to eat, those eating before the evening performance and those doing the double. An instance when using public transport would be a better option - if only it could be relied upon. They have also introduced "pay by phone" parking AT LAST!!! After the regular 'find the one payment machine in the entire car park that is accepting card payments' shenanigans of recent years, that at least is a blessing  |
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Post by CG on the loose on Aug 5, 2017 7:55:25 GMT
It's a journey ai would do myself, as struggle to see something else after the Watermill, as nothing is too local to that theatre, the only thing that would stop me doing what you did would be the cost in petrol coming down from Kent, I probably be looking at £60 - 70, but would if I need to , when I saw Night Music I managed to get the 17:55 back to London and just made the Hired Man at the Union, didn't buy a ticket in advance in case I was late, in which case I would have gone to the Menier to see Adrian Mole that starts at 8pm. I come down from Warwickshire, so the Watermill is at least on my way home from Chichester! |
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Post by TallPaul on Aug 5, 2017 12:48:52 GMT
I've just seen that this has now extended to 2 September. Out of interest, when was it originally due to end in Chichester?
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Post by jgblunners on Aug 5, 2017 13:03:19 GMT
I've just seen that this has now extended to 2 September. Out of interest, when was it originally due to end in Chichester? It only extended by a week, the final performance was originally the 26th of August |
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Post by TallPaul on Aug 5, 2017 13:08:54 GMT
Thanks. Still good for everyone concerned, though.
I'm sure this won't be the end of the road.
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Post by CG on the loose on Aug 5, 2017 17:35:25 GMT
Made it to the Watermill! As it turned out getting to Chichester was the greater challenge!
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Post by showtoones on Aug 5, 2017 21:19:13 GMT
Will this come into the West End this autumn?
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Post by Deleted on Aug 5, 2017 22:16:42 GMT
Will this come into the West End this autumn? Omid is continuing his 'Schmuck For A Night' stand up tour from October to Christmas, so I imagine a transfer would be after that in the new year. |
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Post by Phantom of London on Aug 5, 2017 22:52:35 GMT
It's a journey ai would do myself, as struggle to see something else after the Watermill, as nothing is too local to that theatre, the only thing that would stop me doing what you did would be the cost in petrol coming down from Kent, I probably be looking at £60 - 70, but would if I need to , when I saw Night Music I managed to get the 17:55 back to London and just made the Hired Man at the Union, didn't buy a ticket in advance in case I was late, in which case I would have gone to the Menier to see Adrian Mole that starts at 8pm. I come down from Warwickshire, so the Watermill is at least on my way home from Chichester! lololol That is definitely on the way home, but wow Chichester must be a 4 hour drive at least for you and over £100 in fuel? BTW I trust you enjoyed both shows? |
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Post by CG on the loose on Aug 6, 2017 0:53:09 GMT
I come down from Warwickshire, so the Watermill is at least on my way home from Chichester! lololol That is definitely on the way home, but wow Chichester must be a 4 hour drive at least for you and over £100 in fuel? BTW I trust you enjoyed both shows? Well it took over 3 hours to get there today, but that's exceptional, usually get there in under 2 1/2 and home after an evening show in around 2. Fuel cost c.£30 round trip. And yes, we really enjoyed both shows |
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Post by Phantom of London on Aug 6, 2017 1:05:04 GMT
Glad you enjoyed both shows.
It would take me a couple of hours to drive and that is from the London/Kent Borders. All back roads after Gatwick, which can be quite slow. Even though it's slower I prefer the train, also it is considerably cheaper for meals because I work for London Undergrround, I was one of the last people to get a PRIV ticket when I joined 22 years ago, pre BR privatisation, so get 75% off Anytime/off Peak fares, so nice to take the Guardian and a cup of Caffe Nero Cappucino for the journey.
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Post by emsworthian on Aug 10, 2017 9:03:25 GMT
I saw yesterday's matinee and enjoyed it but first a rant:
I knew from the comments on here that there was a false proscenium arch in this production but I wasn't expecting it to be so ugly and intrusive. I was in an end seat (K1) and my view of the back of the stage was blocked by this arch. Admittedly virtually all the action takes place on the thrust stage but there were times when I wanted to see the back of the stage. I half expected to be offered a free ice cream in the interval after Frostie's experience at the Minerva but it was not to be.
A few years ago I went to a talk where the set designer for Terra Nova (produced at CFT in 1980) read out the policy statement she had been given by the theatre then that Chichester was a democratic theatre and those in the cheapest seats should have as good a view as those in the most expensive. Increasingly, people are complaining that musicals at CFT are being directed with a view to a West End transfer and/or a tour and those sitting at the side of the stage get a lousy view. I am especially disappointed given that it was directed by Daniel Evans in his first season as Artistic Director at CFT and when he was appointed a lot was made of the fact that coming from The Crucible, Sheffield, he had experience directing on an open stage.
Rant over, I thought it was great. There were times when I wished Omid Djalili's voice was stronger, especially during "Sunrise, Sunset", which I think is a beautiful song. But he had chutzpah in the bucket loads. The musical had the emotional depth lacking in "Half A Sixpence." I'd like to see it again - but in a more central seat.
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Post by wickedgrin on Aug 10, 2017 10:15:49 GMT
I agree with the above post. When I go to Chichester I always ensure I have a central seat after enduring several shows (musicals) where I was sat at the side and felt I was watching the show from the wings of the theatre. All the direction being "out front". If the show transfers to a proscenium stage in London it should be re-blocked. However, having said that, I feel that the main stage in Chichester is a very difficult space to work with.
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Post by Someone in a tree on Aug 10, 2017 11:20:54 GMT
This has got to be one of my least favourite theatres
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Post by alicechallice on Aug 10, 2017 11:38:55 GMT
This has got to be one of my least favourite theatres Strange that you've never mentioned it before... 😜 |
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Post by tmesis on Aug 10, 2017 12:19:01 GMT
This has got to be one of my favourite theatres.
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Post by Deleted on Aug 22, 2017 9:39:13 GMT
Went to see in this yesterday and all I can say is it was absolutely brilliant and definalty worth the quite long journey. I have never seen fiddler on stage before and only seen dribs and drabs of the movie quite a while ago so went in not knowing what to expect other that a few songs I knew. I found the story very engaging and interesting to learn about a piece of history I knew nothing about. The cast were all brilliant and there was not a weak link amongst them. I really like Omid Djalili and Tevye and he had great chemistry with Tracy Ann Oberman as Golde. All the sisters were also a marvellous. They staging was good and liked the use of suitcases and the revolve. The choreography and music and everything as just first rate in this. I also stayed for the post show talk which was ingesting but in hindsight I should have just gone home for not as quite a late night . One thing that did bother me a bit was they some actors had accents and the daughters and others didn't. Does anyone know why? Also I hope this show gets a west end transfer and like they said in thee talk, if it does it might loose some of the engergy not being in a thrust stage. Also One of my favourite parts had to be the dream sequence. {Spoiler - click to view}
When the grandma came fro, the ground and them all the people in masks and finally the flying grandmakther I was amazed finally the fire came up making me gasp in shock.
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Post by tmesis on Aug 23, 2017 18:26:16 GMT
Just on the (interminable) train back from today's matinee.
I was not previously a fan of this but I really enjoyed it today.
I was really impressed by Omid Djalili. He has a light voice when singing, with not much power, it's also small in range but it's accurate and in tune and, more importantly, he husbands (oh! unfortunate word) it well to enable him to put over a song extremely effectively. He has just the right personality to carry the part.
All other principals were very strong.
Excellent direction by Evans, I've seen all his Crucible musicals and this is well up to his usual standard.
Quite a coup de theatre for the dream sequence and a very touching ending
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Post by showgirl on Aug 23, 2017 18:46:45 GMT
Just on the (interminable) train back from today's matinee. Oh I love the train journey to and from Chichester - I can gaze at some of my favourite walking country and admire landmarks such as Arundel Castle! |
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Post by tmesis on Aug 23, 2017 19:01:46 GMT
Just on the (interminable) train back from today's matinee. Oh I love the train journey to and from Chichester - I can gaze at some of my favourite walking country and admire landmarks such as Arundel Castle! Having walked the whole of the South Downs Way (and the NDW, but now I'm showing off) I know what you mean, but my journey, although not that far, involves three trains, takes 2 hours 20 minutes and is not that scenically glorious. I'm still on the train now and very bored. |
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Post by jgblunners on Aug 27, 2017 21:58:23 GMT
I saw this last night - booked when it first went on sale, half because I had never seen Fiddler before and was painfully aware of the gaping hole in my knowledge of musical theatre, and half because I loved Show Boat and so trusted that Daniel Evans would be able to deliver another brilliant production of a classic musical. And it seems my trust was well placed, because this was phenomenal. I hadn't expected it to be so funny or moving, but it packed an emotional punch and had me in stitches several times.
Omid Djalili owns Tevye. Ok, his singing isn't amazing, but he plays to his strengths and doesn't push where he knows his voice can't go. His singing style fits with his characterisation of Tevye, and although there were a few moments where I felt he was getting laughs from playing Omid rather than Tevye, I thought his acting was very strong. Similarly, Tracy Ann Oberman was brilliant. Again, understood her vocal limitations and didn't try to overdo it, but instead gave a hilarious and touching performance in her Golde.
Among the rest of the cast, Simbi Akande was fabulous as Tzeitel, Emma Kingston was vocally wonderful but her acting felt a little stale, Gareth Snook and Liza Sadovy were very funny and pitched their respective characters well, and Jos Slovik was adorable as Motel. I also have to mention Laura Tebbutt - putting the staging aside, her vocals in the dream sequence were phenomenal. I wonder if she's a Wicked alumna? If not, I can definitely see that being a potential direction for her.
So, to the design and staging. I was sceptical when I walked in and saw a vast, empty, dark stage. However, my doubts were unnecessary as the lighting and set design brought Anatevka to life most wonderfully. Evans' staging and direction uses the space well, and really helps the audience to connect with this bustling community, which is pretty essential for the denouement to work effectively (and I was very pleased that the revolve wasn't over-used). The choreography is fun and impressive but also felt completely relevant to the culture. The orchestra sound great - I've never heard the original orchestrations so I can't comment on any differences, but I felt that they could've done with slightly increased numbers in some sections - I just wanted parts of it to be a bit more luscious. I am, however, aware that very few shows have large bands these days.
Ok, I think I've rattled on for long enough about how much I enjoyed this. I'll end by saying that this is surely shouting 'West End transfer'. Maybe that's just my desire to see it live on since I can't make it back again before it closes, but with Djalili and the reputation of the show could it at least survive a limited stint? Who knows, as Evans' last revival of a classic musical wasn't exactly a commercial success in London, despite critical acclaim. I guess only time will tell.
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