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Post by wiggymess on May 13, 2022 11:05:10 GMT
So it's an issue with the entire concept of London based show day seats? I don't think that's quite what they were getting at. The actual problem they have is specifically with this production, which releases cheap tickets every Monday for the coming week, online, so everyone can access them. I'd like to see shows up in Manchester - the fact it's expensive for me to get up there, even if I managed to get an affordable ticket, isn't the same as me complaining that the certain show is only "for the rich". I can certainly relate to the Manchester thing - I looked into going to see the local production of Passion, then I saw that a return train ticket on a Saturday (the one day I could reasonably take the trip) would cost me more than a return flight to, say, Barcelona and more than a Eurostar return ticket to Paris. And so, regrettably, I had to say "no, thank you". In fact, the tickets to see the show are priced rather fairly, it's the way trains work in this country that's a bit of a mess! Absolutely - a complete mess. I really want to see Electric Rosary at the Exchange but the travel makes it way too expensive. Hope it gets a life outside the theatre - a tour or maybe a run at a small London theatre. At least living down south I can get a railcard for discounted travel to London.
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Post by wiggymess on May 10, 2022 13:57:59 GMT
You can buy them online. Or is the Internet also only for the rich? I believe what they mean is that even day seats available online will work primarily for those living in London or close enough to London that they can buy a ticket in the morning, in the certainty that they will be able to go about their day (including work) and still make it into central London in time for the show. So it's an issue with the entire concept of London based show day seats? I don't think that's quite what they were getting at. The actual problem they have is specifically with this production, which releases cheap tickets every Monday for the coming week, online, so everyone can access them. I'd like to see shows up in Manchester - the fact it's expensive for me to get up there, even if I managed to get an affordable ticket, isn't the same as me complaining that the certain show is only "for the rich".
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Post by wiggymess on May 9, 2022 23:17:56 GMT
Day seats are £15, for the previews they were a tenner. In reach of most people Not really. Most people aren't in London. You can buy them online. Or is the Internet also only for the rich?
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Post by wiggymess on Apr 25, 2022 15:34:20 GMT
Please let's not do the whole "it's not my opinion it's what everyone else is thinking" malarkey. You've expressed your opinion that theatre is "largely middle class RP-accented white people with conversations in the interval like something from a Posy Simmonds cartoon." And I'm saying I think it's lazy and too much of a broad brush opinion of theatregoers when you're trying to make a valid point about people feeling excluded. It's a self fulfilling prophecy. When I was younger you wouldn't have been able to drag me into a theatre because I had the same fears. Reading your post would have only made me more certain of those opinions. It's off putting being told you're something you're not. It takes one example as the rule and ignores all the efforts of other theatres to actually make a difference. Out of interest do you know which show is playing just next door? I did not say it's 'what everyone else is thinking'. I said it's the impression many have of London theatre. I grew up between two Northern, largely working class cities and the social differences between theatregoing in Liverpool or Manchester compared to London was and still is striking and can still be intimidating, and that's reflected in conversations around it in life and online. I'm a part of the DANC community (whose organisers Triple C got a very-well-earned BAFTA yesterday) and that is a community dedicated to increasing access to the arts, particularly theatre and TV. Ironically, lockdown finally pushed theatres into making work accessible to many who could not access it physically before, and we are hoping through streaming and the like, that will continue. That's fine and I applaud those efforts. But my point is I find it counter productive for you to make sweeping statements about London theatre audiences, because as we've established, they don't stand up to scrutiny and can come across as lazy and ignorant when you ignore large swathes of people, especially those who feel aggrieved at being described in incorrect terms. If you really want to make a change you have to understand who/what your real target is and not alienate people who see theate in London (whether they fit into your narrow category or not) because that's too broad a brush- they are not your enemy. Congrats on the award, an excellent achievement.
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Post by wiggymess on Apr 25, 2022 14:59:32 GMT
I wonder if we'll ever move on from this generalisation of people who go to the theatre in London as middle-class Londoners with deep pockets. It's a lazy generalisation I'd say. I don't happen to be any of those 3 things and find it ironic that those accusing others of snobbery are so easily dismissive of the wide variety of people who like to go and watch theatre. Have you ever thought that maybe this sort of high horse attitude might be counter productive? You are telling people who go to see plays like this that they are part of the problem. Nice. I'm not defending some of the frankly ludicrous pricing, far from it. I just think it's daft to go after people who happen to watch theatre in London (often, like I do, sitting in heavily discounted/cheaper seats). Jerusalem's success has also ploughed money back to the Royal Court for new work and I imagine this run will be just as beneficial. The Ferryman which was also very successful didn't get any sort of livestream, NT Live etc or toured so it's not entirely true that every successful show in London had a further life in the regions. The River, another Jez Butterworth play didn't even get a West End run. I'm sure I remember seeing that he gave The Ferryman a run at Royal Court first as returning a favour for producing his earlier work? Knew he had a banker and let the Court benefit from it too before it hit the West End. Nice idea- would like to see it more.
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Post by wiggymess on Apr 25, 2022 14:56:18 GMT
you're picking and choosing the wrong theatre buildings then. Maybe you should attend plays that attract the audiences you're after. If you're at a loose end you can nip back through my previous posts over the last few years to see the range of theatres I attend. I was talking about the impression theatre can give. The point of my post (please reread it) was that many theatres HAVE made the effort to reach out by putting their work online or in cinemas to try to reach those who find theatre inaccessible or intimidating. Holding out against that in this day and age is 'surprising'. And who knows, maybe they'll surprise us yet, with a recording or NT Live. I live in hope. Please let's not do the whole "it's not my opinion it's what everyone else is thinking" malarkey. You've expressed your opinion that theatre is "largely middle class RP-accented white people with conversations in the interval like something from a Posy Simmonds cartoon." And I'm saying I think it's lazy and too much of a broad brush opinion of theatregoers when you're trying to make a valid point about people feeling excluded. It's a self fulfilling prophecy. When I was younger you wouldn't have been able to drag me into a theatre because I had the same fears. Reading your post would have only made me more certain of those opinions. It's off putting being told you're something you're not. It takes one example as the rule and ignores all the efforts of other theatres to actually make a difference. Out of interest do you know which show is playing just next door?
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Post by wiggymess on Apr 25, 2022 14:36:01 GMT
I wonder if we'll ever move on from this generalisation of people who go to the theatre in London as middle-class Londoners with deep pockets. It's a lazy generalisation I'd say. I don't happen to be any of those 3 things and find it ironic that those accusing others of snobbery are so easily dismissive of the wide variety of people who like to go and watch theatre. It is a widely-held belief: just look at the online reaction to the ticket prices of shows, or threads about 'etiquette', especially in the US. Many of my friends do not go to the theatre, even though I do my best to inform them about how to find cheap tickets or access performances. They think it's stuffy and stuck up and expensive, very public school, very Oxbridge/Russell Group. Theatre in Liverpool or Manchester feels different (lots more school parties, for example), but in London it is very striking to get to Euston and then travel through a very diverse city and then get into a theatre building and it's largely middle class RP-accented white people with conversations in the interval like something from a Posy Simmonds cartoon. Sorry but that's nonsense and you're just perpetuating it. Of course theatre has a long way to go in terms of diversifying its audience and reaching people who don't regularly attend plays but you're picking and choosing the wrong theatre buildings then. Maybe you should attend plays that attract the audiences you're after. And let's just ignore the proven fact that it's incredibly difficult and financially unviable for a show like this to tour. It's just unrealistic.
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Post by wiggymess on Apr 25, 2022 14:17:04 GMT
I wonder if we'll ever move on from this generalisation of people who go to the theatre in London as middle-class Londoners with deep pockets. It's a lazy generalisation I'd say. I don't happen to be any of those 3 things and find it ironic that those accusing others of snobbery are so easily dismissive of the wide variety of people who like to go and watch theatre. Have you ever thought that maybe this sort of high horse attitude might be counter productive? You are telling people who go to see plays like this that they are part of the problem. Nice.
I'm not defending some of the frankly ludicrous pricing, far from it. I just think it's daft to go after people who happen to watch theatre in London (often, like I do, sitting in heavily discounted/cheaper seats).
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Post by wiggymess on Apr 24, 2022 20:17:47 GMT
I think it is always worth having an archive recording of all major productions. The Theatre Museum used to host a collection of many, many West End productions. From an academic perspective, it was an invaluable resource. This is not to say that archive recordings of shows like Jerusalem should be released to the public. But it is an important piece with a career defining performance. That alone means to me that some permanent record be made. There is an archive recording of it which can be seen by appointment as per earlier in this thread. In the process of being moved to the, quote, "here-be-dragons territory" of zone 2 London.
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Post by wiggymess on Apr 23, 2022 22:48:39 GMT
This is getting painful so this will be my last comment on it. The spoiler,as I've already said above if you'd read it, is NOT the fact it's St George's Day. Obviously. It's the line after that which gives away what does/doesn't happen in the very last moment of the play. If that isn't the definition of a spoiler I don't know what is. It can either be taken down or left up. Either way don't get defensive when an obvious spoiler is called a spoiler and could have very easily been put in spoiler tags, as they are what they are here for, especially when the spoiler contributes nothing to the thread. Take a chill pill. There were no spoilers in the original post. Will do. Thanks for being considerate.
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Post by wiggymess on Apr 23, 2022 13:38:28 GMT
I know it is! Not everyone has seen it! Not hard to understand that in my opinion. But whatever, I've been to see it but I was suggesting that spoiler tags were used for spoilers (also an obvious concept) so others who haven't yet seen it would benefit, but never mind. Jesus, this place sometimes... As someone else mentioned, St George’s Day is hardly a spoiler. For a play now on its third revival you should expect some plot points to be mentioned surely. This is getting painful so this will be my last comment on it. The spoiler,as I've already said above if you'd read it, is NOT the fact it's St George's Day. Obviously. It's the line after that which gives away what does/doesn't happen in the very last moment of the play. If that isn't the definition of a spoiler I don't know what is. It can either be taken down or left up. Either way don't get defensive when an obvious spoiler is called a spoiler and could have very easily been put in spoiler tags, as they are what they are here for, especially when the spoiler contributes nothing to the thread.
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Post by wiggymess on Apr 23, 2022 12:58:34 GMT
Please use spoiler tags that's what they're there for. It’s a 13 year old play! I know it is! Not everyone has seen it! Not hard to understand that in my opinion. But whatever, I've been to see it but I was suggesting that spoiler tags were used for spoilers (also an obvious concept) so others who haven't yet seen it would benefit, but never mind. Jesus, this place sometimes...
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Post by wiggymess on Apr 23, 2022 10:51:40 GMT
I was thinking that exact same thing ! (*And pointing out that today is St George's Day is hardly a spoiler!) But I imagine with two perfs of a 3hr-15 minute play, they won't want to be extending anything. The fact it's St George's Day obviously isn't the spoiler, but if I quote the bit that is then that defeats the object if they decide (rightly) to take it down...
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Post by wiggymess on Apr 23, 2022 9:56:52 GMT
Just wondering if today being St George's Day some extra magic will happen? Please use spoiler tags that's what they're there for.
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Post by wiggymess on Apr 20, 2022 14:27:35 GMT
Fair point wiggymess . I hadn't made the connection between the subject of the play and the mystery around the playwright. Didn't want to burst anyone's bubble, I'm just aware people might be booking based on the bio of the playwright and be disappointed. If he is real he sounds fantastic! Having said all that, I think I might now be sufficiently intrigued to give it a go and book anyway.
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Post by wiggymess on Apr 20, 2022 12:51:37 GMT
Yes it does sound odd, so hopefully he's not the head of security at the NT using his contacts, or Mike Bartlett doing a Robert Galbraith... But anything remotely like that would be very dishonest and would cast a lot of doubt on the RC's integrity and values - not something they'd risk after Rare Earth Mettle surely? Isn't it believable that someone from a non-theatre background has drifted in and out of writers' groups for years, met professional playwrights, but taken a long time to write his first professional play and find a theatre to take it on? Maybe less believable that he could keep his identity a secret (any aspiring playwrights here who've noticed a guy in dark glasses and a wig attending writing workshops for years?) I think considering the play is about identity theft I doubt many sensible people would find it dishonest or cast doubt on their values... Could be completely wrong of course but I fully expect this to be part of the whole concept. It seems likely to be some sort of meta way of someone else claiming the work of the actual playwright, something along those lines perhaps.
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Post by wiggymess on Apr 20, 2022 12:50:12 GMT
My previous post isn't showing up for some reason, but there is a Security Officer called Dave Davidson on LinkedIn... Strange for someone who wishes to be anonymous to post his place of work on the internet. Is there a photo of him on there? (I don't have a linkedin)
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Post by wiggymess on Apr 20, 2022 12:06:52 GMT
I was hoping for more than one play too, but this sounds interesting. It's weird not to know much about who he is, but it's refreshing to have a new playwright who isn't either a 20-something or someone from a theatre/arts background. I'm quite excited by someone bringing a whole different life experience to playwriting. I don't want to spoil anyone's fun or anything but I seriously doubt that the bio is true. Of course it's possible but I think very unlikely. The booking page has changed slightly too I think (unless I'm going mad) - I'm sure it said "This is his first play." which contradicts the fact that Simon Stephens says he had been "working steadily in the fringes of the London new writing scene when I first met him on a writers’ group" and Dennis Kelly calling him "quite simply the best playwright that this country has never produced" They've now changed to "This is his first play ever produced." Might be a genuine error.
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Post by wiggymess on Apr 20, 2022 12:00:24 GMT
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Post by wiggymess on Apr 20, 2022 11:30:43 GMT
Were you front row for this? If so what was the view like please? Stage high or low? thanks! Front row & not too high. If i sat up straight i could see the stage floor Great thanks - worth noting that Row A isn't restricted then, thanks.
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Post by wiggymess on Apr 20, 2022 10:57:39 GMT
Intriguing to say the least. The main issue for me being if we don't know who the actual writer is I'm not particularly inclined to book. I hope, for their sake, the mystery and the "game" of it sells it well.
Also, is that the entirety of today's announcement? Was hoping for a whole season...
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Post by wiggymess on Apr 20, 2022 9:48:37 GMT
Dayseats: - x 14 front row tickets £10 each - a number of balcony tickets £10 each It's a very strong play and I am sure I don't need to 'review' it, as most people already seen it first time around, but.... ...I struggled to see how the 3 x 15 year old girls fit into this. All the male characters are given a story, but we learn absolutely nothing about the 2 young ladies. I also struggle to understand why 2 wholesome 15 old girls would keep coming back to a character like Rooster. Don't get me started on the 'dance', I cannot see a 15 year old girl wanting such a dance... Regardless, the rest was exactly as good as expected if not better. Were you front row for this? If so what was the view like please? Stage high or low? thanks!
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Post by wiggymess on Apr 18, 2022 9:54:48 GMT
Difficult to know if they're worth it for a 3 hour show. Could put up with a restricted view for half the length. There were also a few £90 stalls seats. Yeah I decided against it. I have fond memories sitting in the front row dayseats on the last two occasions. If the dayseats this time turn out to be front row I may give it another go and get queuing. Have decent stalls tickets for next Monday but I'm planning ahead for if I want to see it for the 2nd time and will need to grab some on a Monday release. Day seats not an option for me unfortunately. Will have a think.
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Post by wiggymess on Apr 18, 2022 9:33:16 GMT
The 10am release of tickets arrived a few minutes late. Tickets in the the back two rows of the gallery - £25/£10 Difficult to know if they're worth it for a 3 hour show. Could put up with a restricted view for half the length. There were also a few £90 stalls seats.
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Post by wiggymess on Apr 16, 2022 9:42:34 GMT
Seeing the Jodie Comer footage, I can only assume it's a social media/bragging rights type thing.
A few years back we hung about near the stage door after a matinee of Dead Funny, solely to shake Ralf Little's hand - The Royle Family has always been incredibly important to me and I didn't know if I'd get the chance again. But it did feel really awkward and it was a wait and see type situation- reading the body language to see if it was appropriate to approach them. As it turns out the whole cast came over to us/another couple who were waiting, they were all really lovely and we got our programmes signed.
I appreciate it's a completely different audience but there definitely are ways of doing it respectfully. What's the point if you're forcing them into it?
But this was pre-covid of course, and the fact Jodie Comer had a mask on made me feel even worse for her.
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