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I think stupid is not quite fair…there are serious religious groups and plenty of young fit women who dont want it as they believe the (considerable) but not majority view that the vaccine may be more dangerous than the virus to young fit people. Of course 95% dont agree-including most but not all of the scientists..I think religious beliefs and the fact young super fit healthy people have more risk of getting killed by a lightening strike needs to be considered…plus of course a vaccinated person still gets it and stil can transmit it. I got covid after double vaccination and my partner got it after a boost. I think everyone should get the vaccine and I think all those working in theatre need to get it and respect the higher risk but we need to have some sort of sensibility around peoples personal choice too. Surely. Anyway- i will keep to business only from now on

The global majority in the entire world do not believe their religion to be fanatical. The majority of non white people on the planet are suspicious of vaccines and to be honest-whilst I disagree -it is their risk and their choice-no one else’s-remember- vaccine doesn’t stop transmission. Those with no vaccine will possibly get very sick. Not those with vaccine who aren’t v old or with co morbidity. I agree with you. But I just feel we need to be considerate. Non vaccinated people are NOT putting vaccinated people at risk. That is the science. The vast majority of the world believe in their faith that same sex relationships are wrong. Of course this is not right-but honestly that is what the bible and the Quran say..so people with deep faith may believe this..of course its wrong..but that doesn’t mean that deeply faithful people are fanatical

Jessie went down the acting route rather than going into musical theatre after completing her training post I'd Do Anything but say she had remained in musical theatre. Ironically about 10k a week would be ballpark figure for a top West End leading lady opening a production I'd have thought.

All major stars lose money doing theatre but often they have financial freedom to take on these roles. They still get paid well unless they take total minimum for some personal project but they offset that by film work.

I don't know how true it is I once heard a story that Dame Judi was asked at a Q and A why she had agreed to be in The Chronicles of Reddick which was much slated and Judi replied anyone would have done it if they'd been offered what I was.

Robert had done a lot of TV work before and was probably known for TV work before becoming a big musical star. I never saw Onassis but I read all about it.

Love the Terry and June profile picture Duncan. Terry Scott was a very funny man and has sadly become rather forgotten. He was a star of his own shows or the main star in sitcoms for about 25 years, one of the best panto dames ever too. June achieved nationasl treasure status and became a Dame in her own right of course.

Citizen Smith was a bit forgotten about for most of the 1980's in John Sullivan's peak period but did get a rerun circa 1992. Always loved Hilda Braid and Peter Vaughan as the original parents in law.

Same as London. Some shows on tour make a lot of money. Some don’t. The deals with the venues can often encourage shows to play regardless as many regional touring venues are subsidised. Most musicals make their money on Thursday to Saturdays of course. It’s pretty easy to work out which ones will make and which ones wont. Of course producers only make money when they have shows on-from the investment that they have raised. So often producers in London - and more so touring the UK - produce a show, always hoping they will make a profit but often they dont-for the investors-but if the money has been raised and the budgets done properly then the producers can actually still pay themselves and their staff even if the show loses its investment. The majority of tours make their money in the 10-12 great venues and then break even or lose in the others. Some shows make money everywhere-clear which ones…some sadly dont work anywhere at all….managing costs is the biggest decider. Of course some people just enjoy sending loads of shows out regardless of the reality that they probably know some will lose and some will win. That’s how BK works and good luck to him-he doesn’t take on any external investment so its entirely his money and his choice. Whatever you may think of the varying quality fo the productions.

Not sure what questions I haven’t answered or tried to. So forgive me if there are many outstanding. Of course we are all dealing with a major crisis again. Perhaps even worse than before.

If you can-book tickets for February and March….none of us are certain about January.

You can still catch and transmit covid even after a booster. Plenty of young fit very healthy people dont fancy the vaccine as frankly they aren’t at risk of serious illness from covid. Look at the issue across professional sport. It’s the same. Agree, its not very sensible as you are likely to have much milder symptoms if vaccinated. But it wont stop transmission. If people test negative each day then they should be allowed to work.

Jessie gets paid the same as Eddie.

Subsidised theatres don't need to make money. So they can build high quality/expensive productions with A list creative teams and only run for 6-10 weeks. Often not even 8 shows a week. So much easier on the actor than signing up for 8 shows a week and 12+ weeks minimum commitment. Named actors lose money when they do theatre compared to TV/Film/Voiceover or Advertising work. So why spend more time than necessary. Much easier to go to Almeida or NT or Donmar or even Hampstead and just do 6-7 weeks. Also-it is generally believed that the critics are easier on them in a small subsidised venue. And of course much more of a chance to have a ‘hit’ when only having to fill 3/400 seats a night. Or only 4 shows a week in the pre covid NT world. Gemma Arterton may have hurt her commercial career by doing Made in Dagenham as apart from anything it proved beyond any doubt she wasn’t a ticket selling name and she then didn’t get any big movie offers. But doing a play at the NT-only enhances her reputation. Sorry to single this out. There are many other examples and GA is a very fine actor and a super nice person.

I can confirm this, too.  Bookings have dropped off a cliff the past 2 weeks.  A lockdown would be easier.

After 35 years in the business, I've had enough.

I think that Theatres will have contracts with one of the Panto producers and stars are contracted to the producer often knowing a few years ahead who will be where although in recent years there has been a move towards a lot of stars playing one particular venue year after year as it used to be in the old days. Other stars might go further afield one year if next year they get somewhere close to home. So London based stars would likely be keen on SE and surrounding area.

The late John Challis I know liked Malvern as he lived in Shropshire so could get home each night.

What the cut between Producers and Theatres are I have no idea but with Pantos theatres make a load on sweets and drinks for kids and are busiest month traditionally so powerful producers could have favourable terms. But Theatres can change producers once contracts are up.

I've asked this before but not sure if it was answered but how lucrative is it for a theatre owner to hire out a theatre to a TV or a film production. Thinking shows like Britain's Got Talent or Michael McIntyre's Big Show. I know the New Wimbledon Theatre is used a lot for filming purposes for TV and film.

I don't have a proper answer but I do know that when I worked as crew the Union-Management standard agreement featured double time for all filming work not directly related to publicity for the theatre. This suggests there was more than the normal theatre hire charged for filming.

Ahhhh TMA get outs, minimum four hour call, paid at about £50 an hour now. I miss them.

EDIT: I was once told it the pay was done like that so the crew stuck around for the out and didn't just leave early and only lose out on a few quid.