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Post by hairspray57 on Nov 27, 2021 17:34:23 GMT
Be warned, the FOH space is crowded. There are narrow corridors and staircases and people were pressed up against each other in a way I haven't seen since pre-Covid, presumably part of the reason for asking for test results. There also wasn't much mask wearing, possibly because people felt at ease knowing everyone had tested negatively recently. I nearly couldn’t cope with the front of house. Upper circle isn’t signposted and I did 2 circuits up and down looking for it. Wonder if mask rules will change, I kept mine on! As it stands theatre’s are not covered by the new mask rules so it be a Playhouse theatre decision. I suspect theatres are weary to do so. |
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Post by sfsusan on Nov 27, 2021 21:19:50 GMT
I have an acquaintance who is booked to see this shortly. They are unvaccinated and will not take a test of any description. I would like to be a fly on the wall when they try to get in! Oh, do let us know what happens! (Hopefully in this topic rather than 'Bad Behavior at the Theatre'...) |
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Post by jamb0r on Nov 27, 2021 21:46:31 GMT
I saw this last night, we had one of the tables that is behind the first level (i.e. not reachable by the cast). It was pricy, I got it when it first went on sale, but I love the show and so it was a treat. However I am fairly young and wouldn't describe myself as rich. Word of warning - these seats are actually quite restrictive in terms of space - they are right in front of a 'regular' row of seats so you have to squeeze past those people to get in and out, and once you're in, you're in. There is also a 'shelf' on the back of your seat for the people behind you to put drinks on, so a couple of champagne glasses were smashed near me as people shifted about. Everybody had their test emails checked in the queue while waiting to get in, without fail. A couple I saw left the queue ahead of me - they didn't seem angry so maybe they were off to do a test. Everyone was given a sticker to go over their phone camera - many didn't use it, but psychologically this seemed to have an effect as nobody was taking photos inside. Be warned, the FOH space is crowded. There are narrow corridors and staircases and people were pressed up against each other in a way I haven't seen since pre-Covid, presumably part of the reason for asking for test results. There also wasn't much mask wearing, possibly because people felt at ease knowing everyone had tested negatively recently. Thoughts on the show itself: {Spoiler - click to view}
The pre-show activity included wandering musicians and a short dance section around the bar in what is usually the main foyer, in which the cast climbed up and around the bar. There is also a basement bar, everyone entering this way was given a shot of schnapps or a beer. I loved the show. The venue transformation is staggering. There is certainly nothing else like it in the West End at the moment. I do agree some cast members were stronger than others, but I liked both of the leads and felt they managed to bring something to roles that have been performed in a certain way for quite a while now. I also really enjoyed the 'b-stories' of Schneider, Schultz and Kost, which can often end up dragging the pace down, but here were either very funny or very moving. There are some very striking visual moments throughout despite this essentially having a bare stage. I'm still thinking about Buckley's interpretation of the title number at the end - it's very different to all others and my visceral reaction was that I didn't like it, but in my mind I have grown to appreciate it. The final image is striking. For those concerned about audience interaction, there was some prolonged eye contact with people on the front rows, and during the interval three people were taken on stage to do a sort of conga style dance, but nobody seemed forced. For those with food and drink, it's OK but not mind blowing. It is served in a sort of three-tier tin, with the courses in descending order. A beetroot salad, followed by a fairly grim chicken and sweetcorn thing, then a nice chocolate/mango pud. They also bring you a brownie in the interval which was nice. The benefit really of these seats is being up close and level with the action, but I would happily see this again from a cheaper seat, as the view seems decent from everywhere. No programmes or merch, but you are given an A5 folding poster with a cast list on the back, and a badge as you leave. Did anyone bring their tests with them? As earlier in this thread posters said they saw people doing that? Or bringing their results as print outs? When I went the person in front of me in the queue had his actual test with him showing the negative result and it was accepted without question. |
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Post by saral on Nov 28, 2021 12:24:54 GMT
Did anyone bring their tests with them? As earlier in this thread posters said they saw people doing that? Or bringing their results as print outs? When I went the person in front of me in the queue had his actual test with him showing the negative result and it was accepted without question. That's why the negative test requirement is a farce...that could have been anyones test or from anytime |
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Post by partytentdown on Nov 28, 2021 12:45:37 GMT
When I went the person in front of me in the queue had his actual test with him showing the negative result and it was accepted without question. That's why the negative test requirement is a farce...that could have been anyones test or from anytime I think essentially, ultimately, they (and everyone in this industry) are doing their best to protect everyone, based on trust. Sure: you could bring someone else's test device, you could submit a negative result to the NHS when it was actually positive, you could get your mate to mock up a negative result email on Photoshop, there are all sorts of things you could do to get around taking a very simple, painless test that takes literally 2 minutes. But at the end of the day, if you feel the need to go out of your way to lie so blatantly in a way that could put other people's lives at risk, there isn't an awful lot they can do to figure that out beyond taking your word for it, and then that's on your conscience. I was on holiday a couple of months ago in Greece. There, everybody just gets on with wearing a mask, and showing their pass to get into shopping centres, and just generally not being selfish. It seems now, in this country, we live in a country which has pivoted back to selfishness and finding ways to cheat and 'get round the rules' for no real reason other than to serve their own laziness or self importance. Just wear a mask when you are asked, do a test when you are asked (assuming you want to visit a crowded, immersive theatre production), and we might have an increased chance of getting out of this mess. |
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Post by Rory on Nov 28, 2021 13:24:08 GMT
We were in Row E of the Stalls on Friday night, having entered via Stage Door to be led down a wonderfully evocative tunnel which actually felt like entering a Berlin Club. There was a free drink on offer - beer, water or schnapps. Then though to the basement bar area where performers were playing piano etc. There was more performance art in the upstairs foyer but in truth, it was so busy we took our seats early.
The production itself was excellent, and I much preferred it to Rebecca Frecknall's production of Summer and Smoke a few years ago. The leads were excellent. I thought Eddie Redmayne was the perfect storytelling, shape shifting sprite. I had seen him before on stage in The Goat but he is a great presence with a lovely, almost operatic, voice. Jessie Buckley was tremendous and I wonder if they have altered her rendition of the title song as it didn't seem in any way under powered to me. I thought the most affecting performance was from Liza Sadovy as Fraulein Schneider, really terrific.
There are some lovely theatrical flourishes which I won't spoil for others. One which stood out for me was a simple but very effective depiction of Kristallnacht.
Overall it was great and I loved the immersive Kit Kat Club experience. However for me the presentation in the round, whilst simple and very effective, missed some of the chances afforded by more traditional staging. Not so long ago I saw the much toured Kenwright/Norris production for a second time, with John Partridge, and I thought the final tableau in that production was more affecting overall than Frecknall's ending, but I'm sure others would disagree.
A few final admin points:
1. No programmes or merch as yet, just the colour cast list.
2. They did check the negative LF result. Yes, you could lie but why would you, really?
3. We got two glasses of champagne each with our tickets but only one came. By the time I queued for ages for the loo at the interval I didn't have time to get to the bar to get the second. The staff did seem a little more attentive to bringing the drinks to those at the tables.
4. Views from all stalls seats at least looked very good indeed.
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Post by fiyero on Nov 28, 2021 21:06:53 GMT
Time for a more detailed experience review about Saturday's matinee now I have had time to think on it. I will try not to spoil anything for those who haven't been yet but if you want to go in blind this will contain spoilers. I joined the queue at more or less my allotted time of 45 minutes before curtain. The queue was under the railway and nearly as far as Subway, though it moved at a steady enough place. I was sent to the front side door after the covid check and phone sticker then seemed to not move for a while. On entry I was given a drink token and it was made clear it wasn't for the main bar. The lobby was busy, I went to the 'free' bar and saw there was a choice of beer bottle, shot of something or bottle of water. Not a great selection for a non-drinker so I slipped the token into my pocket with my (printed at home) ticket. There were performers which was a nice change from most lobbies but the space felt too busy for me. I found the cast board by the normal front door and took my phone case off to get a picture. I then looked at the stair cases and both only mentioned dress circle. I went towards the bar and found entrances for the stalls and toilets but still no route to the upper circle. I was feeling a bit overwhelmed by the crowd by this point. I've never liked a crushy area anyway and since Covid have avoided it more. I asked where I was to go and I had to return to the stairs by the (normal) front entrance which wasn't easy. I really wasn't happy that upper circle wasn't signposted until you had gone up one level. I guess it is better than some theatres where we truly are treated as 3rd class and kept entirely separate from the rich people. As has been mentioned no programmes and I couldn't see cast lists so I headed for my seat. I was in the front row of the upper circle. I was last there for Spamalot and remember challenging sight lines. The space has been totally reconfigured and is much steeper to allow a view of the new performance space. This was a great place to see the band from too. The seats are high and you can rest your feet on the wall in front. This meant that I didn't feel I could comfortably join the standing ovation (similar to moulin rouge) I also used the non gendered toilets on the way out with little trouble. I loved the show. The cast were all amazing and I believed their portrayals for the most part. {Spoiler - click to view}
The bit that did feel wrong was how easily Ernst Ludwig could be friends with our black Clifford Bradshaw when he seemed physically repulsed to even be in the same room as a Jew I think the set design was really clever and well used and does blend well. I am excited for my return visit in the stalls to see how it looks from there. |
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Post by Jonnyboy on Nov 29, 2021 23:44:33 GMT
I would argue that the person pathetic enough not to do a free lateral flow test is the one who needs to get a grip. Are we not all in this together? Why are those of us doing the right thing being weighed down by utterly selfish individuals?
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Post by sfsusan on Nov 29, 2021 23:57:27 GMT
Let's see how this philosophy sounds in other contexts. "My acquaintance insists on driving while drunk." "My acquaintance has a sexually-transmitted disease and will not use a condom under any circumstances." Would you dismiss criticism of those behaviors with "get a grip"? |
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Post by mattnyc on Nov 30, 2021 0:23:09 GMT
I saw this evenings performance and thought it was just outstanding. Having seen every single Sally on Broadway (except for one) from the 1998 revival and then also this last one, what I’m always amazed with is how many different ways there are to play the role. I thought Buckley did a fantastic job and her sadness and anger was done (I thought) so so well. Having read how she screams through a lot of her songs, I suppose she’s changed that since the only “screaming” I remember was during the lines in songs that aren’t always sung, anyways. It was more a character choice for her and I actually thought it worked.
Eddie was spectacular. I thought I’d always just compare every Emcee to Cumming but the production as a whole was so different that previous portrayals didn’t even enter my mind.
I’ll be back in a few days to see it again and I’m just as excited as I was tonight. A really glorious production where, from the second you enter the club you see where the money you spent on your ticket was being put to use.
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Post by inthenose on Nov 30, 2021 9:15:23 GMT
Let's see how this philosophy sounds in other contexts. "My acquaintance insists on driving while drunk." "My acquaintance has a sexually-transmitted disease and will not use a condom under any circumstances." Would you dismiss criticism of those behaviors with "get a grip"? Sorry to dissent, while I agree with mask wearing, being fully vaccinated and taking every precaution, we mustn't be hysterical. Likening not wearing a mask to knowingly and willfully infecting someone with a STD is not the same. Neither is someone driving home drunk. I do agree with the sentiment, but we are one or two steps at most from Godwin's Law when it comes to such hyperbole. Please folks - wear masks and get vaccinated, if you aren't already. If you haven't yet, get it done - if you haven't already it doesn't make you a criminal. Just get it done. |
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Post by BurlyBeaR on Nov 30, 2021 10:13:30 GMT
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Post by crabtree on Nov 30, 2021 11:51:31 GMT
How raunchy is the production, suitably decadent?
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Post by couldileaveyou on Nov 30, 2021 12:39:00 GMT
How raunchy is the production, suitably decadent? It's fashionably raunchy, not raunchy-raunchy |
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Post by couldileaveyou on Nov 30, 2021 13:08:31 GMT
I have an acquaintance who is booked to see this shortly. They are unvaccinated and will not take a test of any description. I would like to be a fly on the wall when they try to get in! They'll be asked to do one at the box office I think, but if they refuse it they are not likely to be admitted |
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Post by Rory on Nov 30, 2021 13:31:31 GMT
How raunchy is the production, suitably decadent? It's not overly raunchy! |
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Post by alece10 on Nov 30, 2021 17:09:45 GMT
How raunchy is the production, suitably decadent? It's fashionably raunchy, not raunchy-raunchy Unless you are sitting right at the front then the prologue cast dancers are a bit raunchy and they seemed to have come out forgetting to put any outer clothes on. Mind you it's nothing to the raunchiness of the Miss Saigon cast in the opening number if sitting at the front. |
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Post by theatre241 on Nov 30, 2021 17:28:43 GMT
there is a £25 on the website for tonight in the back row. Is it worth sitting in the grand circle or splashing out on stalls seats?
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Post by sleepflower on Nov 30, 2021 17:41:58 GMT
there is a £25 on the website for tonight in the back row. Is it worth sitting in the grand circle or splashing out on stalls seats? The rake is quite steep so you would probably be ok. I was row B of the upper circle and had a more or less perfect view for £25. |
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Post by Deleted on Nov 30, 2021 19:25:17 GMT
Back row of the upper circle is REALLY high up. You are sat higher than the lighting rig and very near the roof of the theatre. But, the view is actually really good and you only really miss 2 very small moments during the show.
Its also a lot of steps to get up there.
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Post by jampot on Nov 30, 2021 20:38:26 GMT
What time does the eve performance finish?
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Post by mattnyc on Nov 30, 2021 20:56:23 GMT
The show gets out around 10:15.
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Post by theatrefan77 on Nov 30, 2021 23:52:24 GMT
Going tomorrow. Looking forward to it. So far three of my friends have seen it. One loved it, one didn't like it and the last one thought it was just ok.
Cabaret is one of my favourite shows and I'm sure i will enjoy it. Can't wait!
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Post by willd12 on Dec 3, 2021 17:55:55 GMT
I went to a preview on the 1st after scoring a £30 ticket in the upper stalls. I understood very much that it's still in previews, and noticed members of the orchestra still scribbling on their scores!
It was my first introduction to Cabaret and I've not stopped thinking about it since I went. I went in knowing very little, only having heard the film version of the title song, which was of course, in that interpretation, belted perfectly instead of being a discordant mess. So I truly did not expect what was going to happen.
We studied Weimar Germany in GCSE History but this very much brought the harrowing rise of Nazism to life.
One thing that has been mentioned here, and by someone I spoke to at the theatre, is how Clifford is a black American who is befriended by a Nazi. Ernst is also slightly queer-coded. It seems unlikely to some, but I find this all entirely feasible.
When I say it is feasible, I don't mean that it makes sense. It makes absolutely no sense because Weimar Germany made absolutely no sense and because Nazism makes no sense. And so it is perfectly fitting. Nazi intolerance always WAS non-sensical and sometimes contradictory.
I also personally wonder if Ernst is interpreted as a homage to Ernst Röhm, a known homosexual who was close to Hitler. In the end, he was assassinated not because of his homosexuality but because of the threat it was thought he presented to Hitler.
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Post by shambles on Dec 4, 2021 17:37:10 GMT
Decided to give in and caught this again. Was able to take in the whole experience this time, beyond the show itself. I think the immersive thing really delivers. It hooks into the original masterstroke that was to frame this story at a cabaret club where everyone is a bit deluded. Credit to Mendes, who also did create a Kit Kat club, but I think this one by taking it just.. a bit further, especially putting in the round staging, works great. The staging really opens the whole thing up. You are so excited to be there, it is decadent, and for me the wallop and discomfort in the second half is greater because of it, which also captures the intent of the piece also, where the club itself becomes ominous.
The pre-show does not quite gel exactly with the show itself, but it still serves its purpose very effectively. Honestly, the material itself is just great and its longevity astonishing.
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