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Post by westendcub on Aug 4, 2018 10:26:17 GMT
Hopes stalls A19 for £37.50 will be okay. Bargain. Well done. They want £90 for it at some performances. Crazy I got A18 when I went on my TodayTix rush ticket so sat there for £25!! |
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Post by tlyon4784 on Aug 4, 2018 11:00:01 GMT
Oh, "you ain't seen nothing yet" - one seat over the aisle is £125, a few rows behind and you are talking £150+... My friend got us a cheeky move from W to I one day it was epic! |
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Post by Deleted on Aug 4, 2018 11:06:34 GMT
Bargain. Well done. They want £90 for it at some performances. Crazy I got A18 when I went on my TodayTix rush ticket so sat there for £25!!
I also got stalls A18 on TodayTix £25 rush offer, for the Wednesday matinee this week. Went on to the app at 10am, and was offered row W or something. Declined a couple of times, and was then offered A18. Excellent seat at an excellent price. But as I sat down I did wonder how much the people around me had paid for their seats.
Thought the show was brilliant, especially Kelli O'Hara.
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Post by Deleted on Aug 4, 2018 11:25:26 GMT
It's so unfair - assuming they don't offer exchanges/refunds, which maybe they will. You can't blast Kelli O'Hara's face and claim the star is starring a Tony Winner only to turn around and say "just kidding" when it comes time to deliver the service. Kelli is the best thing about this revival. I would be devastated to miss her. No, it's not unfair. You book to see a show, that's how it's almost always been here - we're not New York. The show is starring a Tony winner (now two, actually) - she is doing the overwhelming majority of the performances. Her dates off clearly weren't planned until recently as she had previously responded that she intended to do all performances - but that's never a guarantee. It's annoying when you miss a star performer, it's happened to all of us, but it's not Kelli's fault, she's perfectly entitled to have a few shows off just like all of us are entitled to days off work, and that's why they have such a strong standby in the first place. You'll still see the show you paid for. |
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Post by apubleed on Aug 4, 2018 12:15:08 GMT
It's so unfair - assuming they don't offer exchanges/refunds, which maybe they will. You can't blast Kelli O'Hara's face and claim the star is starring a Tony Winner only to turn around and say "just kidding" when it comes time to deliver the service. Kelli is the best thing about this revival. I would be devastated to miss her. No, it's not unfair. You book to see a show, that's how it's almost always been here - we're not New York. The show is starring a Tony winner (now two, actually) - she is doing the overwhelming majority of the performances. Her dates off clearly weren't planned until recently as she had previously responded that she intended to do all performances - but that's never a guarantee. It's annoying when you miss a star performer, it's happened to all of us, but it's not Kelli's fault, she's perfectly entitled to have a few shows off just like all of us are entitled to days off work, and that's why they have such a strong standby in the first place. You'll still see the show you paid for. What you are saying is simply producing marketing spin that isn't true. If they are 'selling the show not the star' then why did they tell people that Kelli is in the show? Why is her face and name plastered over advertising materials? If what you are saying is true they should not advertise who is in the show before you rock up to the theatre. There is almost no other industry where this shameless display of marketing bait and switch would stand. This is not about Kelli, it's about the producers. |
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Post by ali973 on Aug 4, 2018 14:03:25 GMT
apubleed, I understand your frustration. First of all, these things happen. I don't think there was any plans for her to dip out until now. I don't think you were sold on a false premise, so don't feel cheated. I would advise you to call the theatre and ask to swap your shows for a guaranteed date (bar illness). I think you have a case, and honestly, in just about any case I've had even when tickets were non-refundable or exchangeable, I was lucky enough to get both. I've actually found the management with King & I to be quite exceptionally flexible. You're by far better off getting what you want after a call or email than doing it on the forum. Good luck!
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Post by couldileaveyou on Aug 4, 2018 14:10:05 GMT
I think we have a thread on this somewhere, but some productions are indeed heavily or exclusively marketed on a star's name, so it seems only fair to offer a refund or exhance in case the star is not performing. We had plenty of cases in the past few years, like Glenn Close in Sunset Boulverd, Sheridan Smith in Funny Girl or Orlando Bloom's ass in Killer Joe. Particularly, Sunset was all about Glenn, so it is understandable that people were so angered by the producers' decision about her absence. So yeah, the whole "you book the show not the actors" is valid only to a certain extent, since some adverts are clearly selling you the performer.
But tbh I don't think TKAI is being marketed so heavily on Kelli O'Hara's name, which I doubt draws many people outside that group of theatregoers that would have seen the show regardless of the casting. But yeah, Broadway's "above the title" policy is very fair and should be adopted very well.
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Post by Deleted on Aug 4, 2018 14:32:41 GMT
and having now seen ria as Norma I'd have
been fuming if Glenn hasn't been on after paying £150 a ticket
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Post by justafan on Aug 4, 2018 16:55:18 GMT
Just watched the matinee ...Ruthie is using a walking stick throughout as mentioned above but such poise and what a voice - I’ve no idea how she gets through these early shows (or any to be honest) - I was in bits when she took her curtain call knowing what she’s been through ... what a trooper
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Post by showtoones on Aug 4, 2018 17:25:28 GMT
and having now seen ria as Norma I'd have been fuming if Glenn hasn't been on after paying £150 a ticket [br Glenn’s performance was epic and worth the ticket price. Kelli is lovely but her performance is nowhere near the legendary performance Glenn gave. |
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Post by Dawnstar on Aug 4, 2018 19:34:21 GMT
Wasnt Annalene the originally Glinda standby in Wicked? I'm sure she'll be great. Yes, she was, not that she got to go on much as Helen Dallimore didn't miss that many shows. |
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Post by harrietcraig on Aug 5, 2018 17:26:25 GMT
For what it's worth, today's New York Post reports (https://nypost.com/2018/08/04/tony-award-winner-returns-to-stage-after-tragic-park-slope-crash/) that Ruthie Ann Miles will be in the show "through Sept. 29". No details on which performances she will be in.
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Post by fiyero on Aug 5, 2018 22:27:27 GMT
Very tempted to go and see Annalene (I also booked a Wicked show specifically to see her so I have form). I am loving the dynamic pricing, should I go for front row in the side block or near the back in the centre and if going for the front high or low numbers?
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Post by Stephen on Aug 6, 2018 0:48:05 GMT
For this production, I would definitely sit near the back in the centre. If you've sat in the stalls at the Palladium before you'll know how surprisingly intimate the theatre feels even at the back. I often watch parts of the show (The ballet and Shall We Dance) standing at the very back of the stalls and the view is unrestricted. The distance also allows you to really enjoy these moments. You won't have an issue seeing characters expressions from the rear stalls either. Although, in my opinion, the orchestra is fairly quiet at times, the sound balance is good throughout the theatre (even at the back of the Grand Circle)
The only thing I'd say (and maybe Theatre Monkey can give good advice on this) is that there are seats in the stalls which may require you to lean to one side should there be a tall person in front.
Wherever you choose to sit, have a great time.
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Post by fiyero on Aug 6, 2018 8:37:39 GMT
For this production, I would definitely sit near the back in the centre. If you've sat in the stalls at the Palladium before you'll know how surprisingly intimate the theatre feels even at the back. I often watch parts of the show (The ballet and Shall We Dance) standing at the very back of the stalls and the view is unrestricted. The distance also allows you to really enjoy these moments. You won't have an issue seeing characters expressions from the rear stalls either. Although, in my opinion, the orchestra is fairly quiet at times, the sound balance is good throughout the theatre (even at the back of the Grand Circle) The only thing I'd say (and maybe Theatre Monkey can give good advice on this) is that there are seats in the stalls which may require you to lean to one side should there be a tall person in front. Wherever you choose to sit, have a great time. Thank you, booked! |
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Post by Stephen on Aug 6, 2018 12:11:08 GMT
You may also be lucky as it often isn't completely sold out with some empty seats dotted around. If there's an issue you could move. The ushers are friendly. My bet is it'll be fine.
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Post by gra on Aug 6, 2018 15:00:27 GMT
Wasnt Annalene the originally Glinda standby in Wicked? I'm sure she'll be great. Yes, she was, not that she got to go on much as Helen Dallimore didn't miss that many shows. Annalene's a brilliant performer. In the past she's starred as Christine in 'Phantom', Cosette in 'Les Mis', Belle in 'Beauty' Glinda in 'Wicked' and second lead with Ruthie in 'Marguerite' (all London productions) I'm delighted that she's getting seven performances of this! |
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Post by gra on Aug 6, 2018 15:02:50 GMT
Yes, she was, not that she got to go on much as Helen Dallimore didn't miss that many shows. Annalene's a brilliant performer. In the past she's starred as Christine in 'Phantom', Cosette in 'Les Mis', Belle in 'Beauty' Glinda in 'Wicked' and second lead with Ruthie in 'Marguerite' (all London productions) I'm delighted that she's getting seven performances of this! Re 'Wicked'. Annalene was 'alternate', not 'standby' and did regular shows. |
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Post by Dawnstar on Aug 6, 2018 19:33:38 GMT
Re 'Wicked'. Annalene was 'alternate', not 'standby' and did regular shows. This is going a bit off-topic but I've just checked my Wicked programmes from 2006 & 2007 and she was definitely billed as standby rather than alternate. I've also looked back at the notes I still have lurking on my computer about Wicked understudies (I was extremely into Wicked 2006-8) and while I don't have all the shows she was on listed it looks like a couple of days in each of November & December 06, ten days in January 07 when Helen Dallimore was on holiday, a couple of days in February 07, and 1 day in April 07 before she then left the show early at the end of April. I may have missed the odd show - it was 11 years ago - but I'm certain that she didn't have regular performances like, say, alternate Christines or Valjeans have. |
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Post by oldstager on Aug 6, 2018 22:12:20 GMT
For what it's worth, today's New York Post reports (https://nypost.com/2018/08/04/tony-award-winner-returns-to-stage-after-tragic-park-slope-crash/) that Ruthie Ann Miles will be in the show "through Sept. 29". No details on which performances she will be in. Filming the show tonight. Pretty full-on - 7 cameras in the stalls and a rather distracting drone like device operated from the boxes. What an extraordinary production: I thought all the women were terrific and all the men terrible. Kelli O'Hara is real "class" and I doubt if ANNA has ever been better sung. "Hello Young Lovers" was the highlight for me. Ruthie Ann Miles is magnificent with such poise and control and underplaying beautifully. Na-Young Yeon very strong too. But as for those guys - Dean John-Wilson had an unfortunate likeness to Peter Andre which in itself was rather off putting and that music theatre school vibrato is totally unsuited to this score. I found Ken Watanabe totally inept. Surtitles are required - especially for "A Puzzlement" which was incomprehensible. I spent the evening fondly remembering Yul Brynner on that same stage (a few decades ago) - he had amazing presence and he got all the laughs by merely raising an eyebrow or with the most subtle "take". Mr. Watanabe looks like something out of The Muppet Show and has no grace or dignity. I remember the entire audience were deeply moved by the final scene thanks to Brynner's superb underplaying. Tonight the audience were on the verge of confused laughter rather than tears. Of course it's worth seeing for those lovely ladies and to hear that magnificent score again but, oh, how I missed the legend that was Yul Brynner. As I have said on here before - one of the (many) drawbacks of old age is that one has such cherished memories by which to measure current productions.
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Post by showoff on Aug 7, 2018 9:19:48 GMT
And an update on Kelli O'Hara's performance schedule: Is this every date she won't be performing? Did I read on here she isn't on the 28th August either? I'm intending to book today and everybody's rave reviews on here, I really don't want to miss Kelli if I can avoid it. |
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Post by showoff on Aug 7, 2018 9:59:20 GMT
I've booked now for a date where Kelli is scheduled.
I was very surprised though, I called the other day to check it was the accessible booking line as I am 'registered disabled' and asked what prices they were offering. The man said it was a free ticket for a carer and a discounted ticket for the disabled person.
I called to book today and he said they offer that on every other show, but not The King and I. It's £20 off of the tickets instead, which is quite a difference really.
Not really complaining, but I don't understand why they do that for every other show except this one.
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Post by Deleted on Aug 7, 2018 14:18:57 GMT
For what it's worth, today's New York Post reports (https://nypost.com/2018/08/04/tony-award-winner-returns-to-stage-after-tragic-park-slope-crash/) that Ruthie Ann Miles will be in the show "through Sept. 29". No details on which performances she will be in. Filming the show tonight. Pretty full-on - 7 cameras in the stalls and a rather distracting drone like device operated from the boxes. What an extraordinary production: I thought all the women were terrific and all the men terrible. Kelli O'Hara is real "class" and I doubt if ANNA has ever been better sung. "Hello Young Lovers" was the highlight for me. Ruthie Ann Miles is magnificent with such poise and control and underplaying beautifully. Na-Young Yeon very strong too. But as for those guys - Dean John-Wilson had an unfortunate likeness to Peter Andre which in itself was rather off putting and that music theatre school vibrato is totally unsuited to this score. I found Ken Watanabe totally inept. Surtitles are required - especially for "A Puzzlement" which was incomprehensible. I spent the evening fondly remembering Yul Brynner on that same stage (a few decades ago) - he had amazing presence and he got all the laughs by merely raising an eyebrow or with the most subtle "take". Mr. Watanabe looks like something out of The Muppet Show and has no grace or dignity. I remember the entire audience were deeply moved by the final scene thanks to Brynner's superb underplaying. Tonight the audience were on the verge of confused laughter rather than tears. Of course it's worth seeing for those lovely ladies and to hear that magnificent score again but, oh, how I missed the legend that was Yul Brynner. As I have said on here before - one of the (many) drawbacks of old age is that one has such cherished memories by which to measure current productions.
Sorry, this is being filmed?? Has this been discussed already? Are they going to put it in cinemas or release it professionally, or is it just for archives? |
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Post by theatrefan77 on Aug 7, 2018 14:23:56 GMT
Saw this last night with complimentary tickets! I tried to buy tickets last week but box office staff were so rude and unhelpful that I decided to give this a miss. Now ironically I have to be grateful to them for putting me off buying tickets. On Sunday I got a call from a friend informing me that the show was heavily papered on Monday and Tuesday because the show was going to be filmed for archives and the producers wanted a full house. He asked me if I wanted to come along on Monday and of course I accepted.
The show itself was very good, although you have to see it as a product of its time. Today's audiences might consider problematic its patronizing and condescending views and its borderline racism and sexism.
Leaving that aside there is a lot to enjoy here. Kelli O'Hara is absolutely wonderful as Anna and sings the score beautifully, she deserves all the praise she's getting. Ruthie Ann Miles is equally wonderful as Lady Thiang and it was really moving to see her on stage. Both ladies got entrance applause. Ken Watanabe also got entrance appplause. His King was ok overall, funny in parts but there was something missing in his performance and he mumbled a bit at times. The rest of the cast did in general a good job. The set was basic but effective and the orchestra sounded amazing.
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Post by BurlyBeaR on Aug 7, 2018 15:44:44 GMT
I've booked now for a date where Kelli is scheduled. I was very surprised though, I called the other day to check it was the accessible booking line as I am 'registered disabled' and asked what prices they were offering. The man said it was a free ticket for a carer and a discounted ticket for the disabled person. I called to book today and he said they offer that on every other show, but not The King and I. It's £20 off of the tickets instead, which is quite a difference really. Not really complaining, but I don't understand why they do that for every other show except this one. That really stinks doesn’t it? That and the star’s sudden decision to have time off after tweeting that she wasn’t, which is also questionable. |
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