Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Oct 20, 2017 4:10:10 GMT
Coming next year, reports Baz
(As noted in the replies, he's wrong about "first revival")
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1,189 posts
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Post by theatrelover123 on Oct 20, 2017 6:54:45 GMT
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3,057 posts
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Post by ali973 on Oct 20, 2017 7:33:05 GMT
Are there any musicals booked for Southwark between now and May? I've been checking their website since The Life and it looks like they've cut back on musicals.
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4,596 posts
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Post by Someone in a tree on Oct 20, 2017 7:48:44 GMT
Yay. Fantastic news 😄
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Post by jgblunners on Oct 20, 2017 7:59:14 GMT
Are there any musicals booked for Southwark between now and May? I've been checking their website since The Life and it looks like they've cut back on musicals. Just the new Bananaman musical I think
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Post by Deleted on Oct 20, 2017 8:21:25 GMT
Hoorah! Bring back Chita and Liza. And Liza's plastic hips.
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Post by alece10 on Oct 20, 2017 8:48:28 GMT
Thrilled as I'm always harping on about it never being done over here.
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Post by stevejohnson678 on Oct 20, 2017 9:14:05 GMT
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Post by Boob on Oct 20, 2017 10:31:12 GMT
Putting this out to the universe...
Anita Louise Coombe as ANNA
Rebecca Trehearn as ANGEL.
I thank you.
Boob, CDG
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Post by frankubelik on Oct 20, 2017 10:58:49 GMT
Linzi played Angel at the Leicester Haymarket with a fabulous performance from Kathryn Evans as Anna. There was a poor production at the Orange Tree in Richmond with Gay Soper. Good to see it resurface.
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Post by Honoured Guest on Oct 20, 2017 11:00:14 GMT
As seen at the Forum Theatre Wythenshawe! Where the tickets cost about £2.50! Those were the days! The Rink! The Rink!
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Post by Deleted on Oct 20, 2017 11:02:38 GMT
I've said many times that this is the perfect space for The Rink and i was listening to it just last week!! Linzi Hateley could definitely play Anna this time Ive booked for the last preview
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3,057 posts
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Post by ali973 on Oct 20, 2017 13:08:23 GMT
Linzi H also crossed my mind. But Anita and Rebecca are great names too.
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Post by Deleted on Oct 20, 2017 14:52:39 GMT
Ruthie Henshall singing 'Chief Cook and Bottle Washer' would be heaven.
Laura Pitt Pulford can play Liza. Terrific!
Boom. Casting done.
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Post by Deleted on Oct 20, 2017 16:11:28 GMT
Thanks for the heads-up on this. That's one of the resons I like this board. Booked and looking forward to it.
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Post by sf on Oct 20, 2017 18:08:53 GMT
On the one hand, I'll go and see it, and suppress the urge to giggle during Fred Ebb's worst-ever lyric ("We can make it, we'll survive/Danny, you're too stoned to drive!"). That line aside, I love the score, although the show isn't perfect by any means.
On the other... it's a show about the relationship between two women. Were there really no women available to direct or choreograph?
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Post by Deleted on Oct 20, 2017 19:07:12 GMT
On the one hand, I'll go and see it, and suppress the urge to giggle during Fred Ebb's worst-ever lyric ("We can make it, we'll survive/Danny, you're too stoned to drive!"). That line aside, I love the score, although the show isn't perfect by any means. On the other... it's a show about the relationship between two women. Were there really no women available to direct or choreograph?
Is this the new line to trot out? Let’s just enjoy it, shall we? Don’t worry, it’ll be safe in Adam Lenson’s hands.
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1,909 posts
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Post by sf on Oct 20, 2017 19:27:35 GMT
On the one hand, I'll go and see it, and suppress the urge to giggle during Fred Ebb's worst-ever lyric ("We can make it, we'll survive/Danny, you're too stoned to drive!"). That line aside, I love the score, although the show isn't perfect by any means. On the other... it's a show about the relationship between two women. Were there really no women available to direct or choreograph?
Is this the new line to trot out? Let’s just enjoy it, shall we? Don’t worry, it’ll be safe in Adam Lenson’s hands. No, this isn't the "new line to trot out". It's an old, old story that does nobody much credit. Let's just consider for a moment how criminally underrepresented half the population still are in creative posts in theatre in this country, shall we? I'm sure it'll be safe in Adam Lenson's hands, and I certainly intend to see it, but it's a valid point.
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Post by Deleted on Oct 20, 2017 19:31:06 GMT
I’m just wondering... d’you reckon they considered some women, saw some even, for the jobs you mention, but at the end of the day the best people for the positions were men?
Or maybe they really wanted to appoint a woman, two even, but the woman/women they wanted were tied to other projects.
I’m just wondering...
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Post by sf on Oct 20, 2017 20:20:38 GMT
I’m just wondering... d’you reckon they considered some women, saw some even, for the jobs you mention, but at the end of the day the best people for the positions were men? In the immortal words of Neil Tennant: Oh, pur- lease. Some individual jobs, sure - but then look at how many directing jobs go to women. Look at how many directing jobs go to people whose heritage isn't white Anglo. Look at how many women are running institutional theatres up and down the country. Aside from artistic directorships, look at how many women are represented on those theatres' boards of directors/trustees. Then look at how many women hold theatre degrees, directing degrees and all the rest of it, and look at how many women are in the audience. There's a big representation problem in theatre in this country, and the "best man for the job" argument isn't going to explain it away.
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Post by Deleted on Oct 20, 2017 20:38:18 GMT
Your avatar just about sums up how I feel reading this... Of all the people in the world to quote, and you quote Neil Tennant.
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Post by benny20 on Oct 20, 2017 21:03:02 GMT
As seen at the Forum Theatre Wythenshawe! Where the tickets cost about £2.50! Those were the days! The Rink! The Rink! Yep. Saw it in sunny Wythenshawe in the day. Paul Kerryson, one of his great shows, Pacific Overtures etc. Happy days
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Post by sf on Oct 20, 2017 21:30:29 GMT
Your avatar just about sums up how I feel reading this... Of all the people in the world to quote, and you quote Neil Tennant. Instead of coming back with a cheap jibe, how about actually addressing the point I made? No? Never mind.
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Post by firefingers on Oct 20, 2017 22:22:40 GMT
There is a hell of a lot of sexism at the top on the big leagues, proper boys club. And there are certainly rolls within the industry where women seem to get preference. It goes both ways. Though woman are preferred in minor roles and men in the big ones, creatively speaking.
But we don't know the particulars guys. A director is often key in pushing a show to happen, talking to a producer and convincing them the show would be a good idea. They have may have seen or worked with other creatives (choreo, lighting anything) and gone "That fits my vision perfectly. This is it!" We can't stiffle the creative process and say "You've got to pick a female choreographer" when someone who happened to be male produced work work fitted what the project required in the director's or producer's head. It is an artistic creation, no one has the exact same style or qualification.
To decide that anyone shouldn't be directing a story because it is centred on people of the opposite gender is absurd anyway.
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Post by Honoured Guest on Oct 20, 2017 22:22:51 GMT
As seen at the Forum Theatre Wythenshawe! Where the tickets cost about £2.50! Those were the days! The Rink! The Rink! Yep. Saw it in sunny Wythenshawe in the day. Paul Kerryson, one of his great shows, Pacific Overtures etc. Happy days Pacific Overtures was my other visit to the Forum Theatre Wythenshawe - on a coach trip with Bristol Old Vic Theatre Club! It was very much the furthest they'd travelled for a show - uncharted territory for Bristolians -and the organiser had carefully selected the pre-matinee, luncheon pub location on the information that the Forum Theatre Wythenshawe was close to the airport. In the course of lunch, worried conversation with the coach driver and an urgent phone call to the Forum Theatre Wythenshawe led to the unhappy realisation that the pub was in fact close to the wrong airport. The theatre agreed to hold the curtain for fifteen minutes as our coach hurtled through the vast territories of Greater Manchester.
When I arrived at the theatre for The Rink (under my own steam) who should also be there but Mark Shenton ... !
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Post by sf on Oct 20, 2017 22:39:30 GMT
To decide that anyone shouldn't be directing a story because it is centred on people of the opposite gender is absurd anyway. It is. And that's not quite the point I made. Nobody's talking about "stiffling" the creative process, or even stifling it, and how fascinating to see you equate opening the door to include more women in creative roles with stifling the creative process. I didn't suggest, either, that anyone shouldn't be "directing a story because it is centred on people of the opposite gender". I'm simply pointing out that the theatre world is neither as inclusive nor as representative as it should be.
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Post by Joseph Buquet on Oct 20, 2017 23:16:47 GMT
To decide that anyone shouldn't be directing a story because it is centred on people of the opposite gender is absurd anyway. It is. And that's not quite the point I made. Nobody's talking about "stiffling" the creative process, or even stifling it, and how fascinating to see you equate opening the door to include more women in creative roles with stifling the creative process. I didn't suggest, either, that anyone shouldn't be "directing a story because it is centred on people of the opposite gender". I'm simply pointing out that the theatre world is neither as inclusive nor as representative as it should be. Out of interest, why have you picked this particular piece to raise this point? You seem to link your point to the fact that the show is about two women. I fully support your call for equality. But I think that women are quite capable of directing men (and vice versa)!
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Post by dazzerlump on Oct 20, 2017 23:43:21 GMT
ooh I would live Louise Dearman as Angel and Ruthie as Anna.. cant wait for this though, booked today. A company I have done shows with was attempting to get the rights recently, this would explain why they couldn't!
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Post by Phantom of London on Oct 20, 2017 23:50:28 GMT
Good news
But have to say unfortunately this has been a terrible year for the Southwark Playhouse artistic wise, they certainly haven't lived up to previous years, which is itself is strange as this would be the perfect theatre to do co-production with the Hope Mill Theatre, Manchester.
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Post by sf on Oct 21, 2017 0:11:53 GMT
It is. And that's not quite the point I made. Nobody's talking about "stiffling" the creative process, or even stifling it, and how fascinating to see you equate opening the door to include more women in creative roles with stifling the creative process. I didn't suggest, either, that anyone shouldn't be "directing a story because it is centred on people of the opposite gender". I'm simply pointing out that the theatre world is neither as inclusive nor as representative as it should be. Out of interest, why have you picked this particular piece to raise this point? You seem to link your point to the fact that the show is about two women. I fully support your call for equality. But I think that women are quite capable of directing men (and vice versa)! I never suggested men weren't capable of directing women. I'm sure the people signed up for this production will do a good job. That's not quite the point. The reason it's on my mind is actually not entirely about this specific production, and mostly just coincidence - a face-to-face conversation I had the other day with a (male) friend about what we'd seen this year and who had directed it, and another (female) friend's rather sharp reaction to the announcement of this production on Twitter. I know the Southwark Playhouse had a woman direct 'Promises, Promises' (which, as it happens, she did very, very badly indeed, for reasons that have nothing to do with her gender), and that's great, but it's not enough. Over the past two years I've seen five productions that originated there (Grey Gardens, Allegro, Promises Promises, and Working at the Southwark Playhouse, and In the Heights at King's Cross). Of those five, four were directed by men. The majority of the creative positions on all those productions were filled by men. I think by and large the Southwark Playhouse does very good work - but that's an issue, even though I don't imagine for a moment that it's the result of any kind of plot to keep women out. Diversity and inclusivity, in this country, are not things we deal with particularly well. You might hope that would be less true in the arts , but that world is still very male, very white, and very middle-class, particularly behind the scenes.
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