|
|
Post by Jan on Apr 18, 2018 10:38:55 GMT
He has announced 3 main house plays, 1 clare space play and some community stuff I think its a little early to judge. I remember people complaining about the first Almedia season a few years ago from Goold and that's turned out fine! Goold's first six months were - 1984, King Charles III, Mr Burns. Two of those have gone on to have international success.
He said that he wanted to showcase American plays because the UK thinks primarily about its musicals.
But why America ? Anyway, that isn’t true, people who go to the theatre see plenty of contemporary American plays (notably at the NT just up the road from YV, but also at Donmar, Almeida, Print Room etc). But I bet even a regular theatregoer would struggle to name a single living German or French playwright. |
|
|
|
Post by Deleted on Apr 18, 2018 11:23:37 GMT
Goold's first six months were - 1984, King Charles III, Mr Burns. Two of those have gone on to have international success.
He said that he wanted to showcase American plays because the UK thinks primarily about its musicals.
But why America ? Anyway, that isn’t true, people who go to the theatre see plenty of contemporary American plays (notably at the NT just up the road from YV, but also at Donmar, Almeida, Print Room etc). But I bet even a regular theatregoer would struggle to name a single living German or French playwright. I would be excited to see plays from European practitioners. And to hear the diverse voices from those countries too. It would invigorate British Theatre making. So bored of the Work from the US. |
|
|
|
Post by Deleted on Apr 18, 2018 11:28:09 GMT
Goold's first six months were - 1984, King Charles III, Mr Burns. Two of those have gone on to have international success.
He said that he wanted to showcase American plays because the UK thinks primarily about its musicals.
But why America ? Anyway, that isn’t true, people who go to the theatre see plenty of contemporary American plays (notably at the NT just up the road from YV, but also at Donmar, Almeida, Print Room etc). But I bet even a regular theatregoer would struggle to name a single living German or French playwright. They might get Zeller or Reza for France but struggle on Germany (Schimmelpfennig comes to mind first for me, Idomeneus at The Gate and Winter Solstice at The Orange Tree in the last few years, anyone saying Handke or Jelinek gets a zero as they are both Austrian!). |
|
|
|
Post by Jan on Apr 18, 2018 11:49:38 GMT
But why America ? Anyway, that isn’t true, people who go to the theatre see plenty of contemporary American plays (notably at the NT just up the road from YV, but also at Donmar, Almeida, Print Room etc). But I bet even a regular theatregoer would struggle to name a single living German or French playwright. They might get Zeller or Reza for France but struggle on Germany (Schimmelpfennig comes to mind first for me, Idomeneus at The Gate and Winter Solstice at The Orange Tree in the last few years, anyone saying Handke or Jelinek gets a zero as they are both Austrian!). Yes I saw Idomeneus - very good. |
|
|
|
Post by Deleted on Apr 18, 2018 12:13:04 GMT
They might get Zeller or Reza for France but struggle on Germany (Schimmelpfennig comes to mind first for me, Idomeneus at The Gate and Winter Solstice at The Orange Tree in the last few years, anyone saying Handke or Jelinek gets a zero as they are both Austrian!). Yes I saw Idomeneus - very good. 'Golden Dragon' deserves a high profile production, it's been produced here but with a white cast rather than the East Asian cast one suggested in the text. It's a great play about migration. An opera version has been on tour here (and got in trouble for casting white performers too).
Falk Richter had 'Trust' at The Gate recently. I missed it, sadly, but got the impression the production didn't make as good a case for it as it could have done.
Von Mayenburg gets quite a few productions here but he tends towards the Anglo-American play tradition, so it's less of a jolt.
|
|
|
|
Post by Deleted on Apr 18, 2018 13:56:06 GMT
Oh I love it when a theatre puts on an American play. Especially when an actor tries to pitch the accent in New York but sadly ends up somewhere just outside Newport. It's hilarious.
I quite like those "oh fiddle-dee-diddle-dee-dee, why I dooooo declay-re" ones too. You often get a chap in a sweaty vest in one of those.
|
|
4,955 posts
|
Post by Someone in a tree on Apr 18, 2018 14:28:29 GMT
@ryan
After some successful American accents hopefully the YV will stage Allo Allo. Just think of the accent potential
|
|
5,139 posts
|
Post by TallPaul on Apr 19, 2018 12:53:58 GMT
@ryan After some successful American accents hopefully the YV will stage Allo Allo. Just think of the accent potential With Dame Jane Asher as dialect coach. |
|
84 posts
|
Post by jasper on Apr 19, 2018 17:35:15 GMT
I do not understand this concern with American accents. I have seen many plays from other nations, but there seems to be no concern about accents. I do not remember a Greta Garbo accent being adopted for Strindberg or a South African accent for Fugard. What accent should Beckett be performed in? So why the concern to have a successful American accent? Do the Americans have the same concern for an English or Welsh or Scottish accent? I think not.
|
|
|
|
Post by Deleted on Apr 19, 2018 17:39:08 GMT
I do not understand this concern with American accents. I have seen many plays from other nations, but there seems to be no concern about accents. I do not remember a Greta Garbo accent being adopted for Strindberg or a South African accent for Fugard. What accent should Beckett be performed in? So why the concern to have a successful American accent? Do the Americans have the same concern for an English or Welsh or Scottish accent? I think not. A couple of recent productions have not used American accents for American plays and I thought they worked, showing the overlap between the country written for and the country performed in. The two were Streetcar Named Desire at the Lyric, Hammersmith and Our Town at the Almeida (although the coup de theatre near the end of the latter had them switch into New England s tting and accents). |
|
|
|
Post by Deleted on Apr 20, 2018 8:18:17 GMT
TodayTix has a presale for the new season, booking open now. But bear in mind:
1. You're paying £3 extra per ticket
2. You can't exchange tickets later, which you can if you book direct with the Young Vic
|
|
|
|
Post by Deleted on Apr 20, 2018 9:22:04 GMT
TodayTix has a presale for the new season, booking open now. But bear in mind: 1. You're paying £3 extra per ticket 2. You can't exchange tickets later, which you can if you book direct with the Young Vic I was annoyed by the booking fee, so I went to book on the Young Vic’s site, was forced to register an account and then discovered at the last step that I also have to purchase membership to be able to book directly at this moment in time. So that was irritating. I might just book Jesus in todaytix to use my my £10 today tix credit before it expires. |
|
1,254 posts
|
Post by theatrelover123 on Apr 23, 2018 10:48:14 GMT
Do we know if lucky dips are available for the new season of plays eg Twelfth Night, Jesus etc? I don't seem to be offered them when trying to book.
|
|
2,677 posts
|
Post by viserys on Apr 23, 2018 11:20:14 GMT
I'm sure this question has been asked before (sorry!) but how does the unreserved seating work? I've been to the Young Vic a few times before but I can't remember the strange seating allocations. I got "Zone B - Best Available X-446" and have no idea what that means. Is that a seat?
|
|
2,480 posts
|
Post by zahidf on Apr 23, 2018 11:26:58 GMT
I'm sure this question has been asked before (sorry!) but how does the unreserved seating work? I've been to the Young Vic a few times before but I can't remember the strange seating allocations. I got "Zone B - Best Available X-446" and have no idea what that means. Is that a seat?
It looks like you get the seat and then they allocated you a random seat from that section neater the time.
|
|
|
|
Post by Deleted on Apr 23, 2018 12:40:26 GMT
My understanding is I believe they conservatively estimate how many seats they'll have in each price band (the auditorium gets reconfigured so often they must have a rough idea of the breakdown for nearly every conceivable arrangement at this point) then sell that many. People who've booked will be listed according to order in which they booked, and then when the seating arrangement is confirmed, they'll be allocated the best available seats in their chosen price band in order of booking. Once this is confirmed, they can open the rest of the auditorium up to be booked.
They don't announce when they're confirming seating arrangements though, so you have to sort of keep an eye out for when that happens. After then, you can contact the box office to find out what they've given you (and ask for an exchange if you deem it necessary). Theoretically you can find your seat assignments on the website when you log into your account, but I can't find that anymore. They REALLY need to sort out our ability to log in and look at our previous bookings!
So the number on your booking isn't a seat number so much as a placeholder until such time as your seat is assigned. I usually book Zone D - Best Available and end up in the early X-900s.
|
|
2,677 posts
|
Post by viserys on Apr 23, 2018 16:38:49 GMT
Well I have to say I'm impressed by the Young Vic's service. I emailed them to inquire, since I've booked for the captioned performance on 14th March and I basically wanted to be sure that I'll be sitting somewhere where I can actually see the captions easily along with the stage. They wrote back within a few hours to explain their system and said, they put a note in with my booking to make sure I get a seat allocated where I can see the caption box. Very nice!
|
|
1,502 posts
|
Post by foxa on Apr 23, 2018 17:01:11 GMT
I'm a Young Vic friend and booked for everything in the season except for 'The Convert' - which I may book later - I have a credit note because I couldn't go to 'The Brothers Size' so I may use it for that. The Young Vic is a theatre to which I have a lot of loyalty - I've seen some amazing things there (most recently 'The Inheritance') - and some deeply odd ones - but they keep the ticket prices down and I like that you get a good view from just about every seat.
So we'll see.
|
|
382 posts
|
Post by stevemar on Apr 23, 2018 18:42:30 GMT
Thanks for the reminder. No problems in booking The Convert, Twelfth Night and A Train. I’ve had some great nights (and days) at the Young Vic, often booking for things which might be outside the usual “comfort zone”. Just checked and I booked The Inheritance and Fun Home in July 2017 and they emailed me with the details of the allocated seating for the Inheritance in Jan 2018. I got lucky with the Inheritance on Saturday as we had aisle seats just to the side with extra legroom for two and due to the angle of the seating, just the aisle in front. Thanks Theatremonkey for the tip about emailing them. I’d never have thought of that! Personally, I also find it easier when they announce the season well in advance, as they do with the Young Vic, rather than just a few months or weeks beforehand (as with the National and Donmar sometimes).
|
|
1,254 posts
|
Post by theatrelover123 on Apr 24, 2018 18:13:15 GMT
Anybody have any more info on whether the YV are offering Lucky Dip tickets for newly announced shows in the season?
|
|
