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Post by jadnoop on Nov 22, 2017 9:44:28 GMT
Mildly regretting not picking up tickets to Macbeth now, but with the less-than-stellar sales for the last few Travelex plays I think it's great news that it has sold so well. Fingers crossed the critical opinion matches the sales.
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Post by jadnoop on Nov 21, 2017 10:53:51 GMT
(sorry in advance for what's probably a very simple question)
I'm not much of a 'classic musicals' person, but my better half really enjoys them, and especially loves 'Getting To Know You', which I believe is in this one. The tickets are way more than I'd like to pay, but there's no Glastonbury next year, so we have a little more 'fun' cash than usual. And since the broadway version seems to be well regarded, and it's an opportunity to see Ken Watanabe on stage, I'm thinking it might be worth the trip.
However, I'm not really clear on where to go for tickets. For most of my plays I buy direct from the venue (NT/Barbican/ROH websites, etc), but for this there doesn't seem to be an clear 'official' site. Instead, looking online are loads; londontheatre, londontheatredirect, ticketmaster, amazon, atg, and so on. They all seem legit, but are there any differences, either in terms of the customer service or the % commission that they take, or whatever? Do people just go for whichever website pops up first on google?
Cheers
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Post by jadnoop on Nov 16, 2017 8:49:50 GMT
Pretty intrigued about this too. I wonder if they haven't given away one of the stories with the photo on the website. The rehearsal image of the lady holding the mirror looks like it could be the end of the Eye Of The Beholder episode. If that's the case, the story has lots of relevance today, but I wonder how they'll make it work without the twist being immediately obvious.
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Post by jadnoop on Nov 13, 2017 14:16:00 GMT
Does anyone know how spoiler-y the interviews tend to be, or if the interviews are recorded and made availale somewhere? I'm quite tempted to see the interview with Annie Baker on January 19th, but it's so early in the run that presumably very few people will have seen the play by then...
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Post by jadnoop on Nov 13, 2017 8:47:05 GMT
I've passed through the queue, I've logged in - and when I go to the times and dates I get a 'no results' page! I'm pretty sure they're having technical problems. Until about a minute ago, none of the new dates were showing, and currently John, Macbeth and The Great Wave are all showing as completely sold out. edit: tickets are showing up online now
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Post by jadnoop on Nov 7, 2017 22:24:32 GMT
Including concerts we probably do about 2-3 events per month. Keep track on a calendar.
Would love to do more but it's generally time as much as money that prevents us going out more. Very jealous of the people who manage to organise going to plays/concerts 100+ times per year.
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Post by jadnoop on Nov 2, 2017 12:51:04 GMT
I know it's out of the remit/interest of the board, but only the return of Ballet Black really excites me from the latest announcement. Hoping for Kings of War or another Ninagawa later in the year or early 2019 though.
Out of interest, does anyone know when the RSC live dates are usually announced? I get the value in the cinema relays, but don't really see the appeal of paying £20 to see the RSC in the small Barbican screen when you can see it on stage for the same price (or usually less) a few metres away.
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Post by jadnoop on Oct 30, 2017 13:17:31 GMT
For what it's worth, I don't think it really matters even if a few examples like these come up. After all, the fact that a few instances exist doesn't really mean anything when it comes to the wider context of society as a whole. If you look hard enough I'm sure it's possible to find a few examples that lines up with just about any world view.". But it does show what is socially accepted, in commercials etc. And how 1 sided it all is. Nowadays men are objectified more than ever before. And worse, they are not allowed to say anything about it. They are being silenced. A very convenient way to use men exactly how you want them to be and only that. Sure, you can take an advert as an example of the objectification of men, but to talk about what's 'socially accepted' you need to put that case in the wider context. I very much doubt that anyone is suggesting that there are no instances whatsoever where men are objectifed or are the victims of sexism, but to suggest that that's the norm is silly. When it comes to individual posts & stories, the stuff that goes 'viral' is the most extreme & unusual, so pretty much by definition it's the least likely to be the norm.
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Post by jadnoop on Oct 30, 2017 12:43:54 GMT
Dave25, while you're here could you get back to me on this please? Dave, please provide links to - the dinner date story - the shampoo commercial (or the name of the product, the one you name doesn't exist) - the facebook post about the dentist. At least we will then have some context for your rather disturbing posts. For what it's worth, I don't think it really matters even if a few examples like these come up. After all, the fact that a few instances exist doesn't really mean anything when it comes to the wider context of society as a whole. If you look hard enough I'm sure it's possible to find a few examples that lines up with just about any world view. Anecdotal evidence is certainly important in shaping how we each interpret the world, but it can't really be relied upon: A newspaper article about a single 'benefits scrounger' might be an exciting & emotional read, but it's basically irrelevant as a way of judging how well or poorly the benefits system is working as a whole. There are always outliers on any distribution, and while they make the most exciting stories, they don't necessarily reflect the trend as a whole. As the old adage goes, "one death is a tragedy, a million is a stastistic".
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Post by jadnoop on Oct 30, 2017 10:53:57 GMT
Or this'll be an awkward moment when we find out that @ryan 's comments have been completely serious this entire time, and the Donmar really did take out a restraining order on him when they cast Jonathan Bailey in The York Realist
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Post by jadnoop on Oct 27, 2017 12:10:56 GMT
Assassination of Katie Hopkins I really don't get why they're giving that hate-mongering banshee any attention at all. She thrives on the headlines that come from stoking up controversy, and this is just going to feed that beast further.
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Post by jadnoop on Oct 27, 2017 11:58:24 GMT
Is there any news on the change of the cast since the start of the year?
It looks like it's a cast of four, who are listed on the NT website. But no mention of Georgia Engel, who the play was written for and who was supposedly already signed up when the NT originally announced at the start of the year.
I'm sure it'll be great either way. Presumably the role is now taken by June Watson or Marylouise Burke (the latter was amazing in Sideways), but it would've been nice to see someone who the play was written for, and has played the role already in the States.
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Post by jadnoop on Oct 26, 2017 12:10:38 GMT
Think they are in the process of posting it all because the website is intermittently not working at all for me. Managed to get through to see the on sale dates etc though. 7th November for Priority - my card is going to be feeling the pain this month with Macbeth, John and Absolute Hell on sale. By any chance, did you see when tickets are on sale for common mortals without priority? 21st November at 8:30 (public) 13th November at 8:30 (advanced) 7th November at 8:30 (priority & young members)
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Post by jadnoop on Oct 25, 2017 16:16:46 GMT
Amazing! Where did you see this info? The ticket purchase links are on the NT website, albeit quasi-hidden away a little. First performance: www.nationaltheatre.org.uk/tickets/10745and you can see the various dates by changing the final numbers up until the last performance: www.nationaltheatre.org.uk/tickets/10791I don't know the way that the set up is in terms of the website and marketing at the NT, but presumably it means that an announcement must be coming very soon. I didn't find equivalent links for Macbeth or The Great Wave, but presumably the links will be up shortly since their talks are already listed.
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Post by jadnoop on Oct 25, 2017 14:23:25 GMT
It looks like the dates for Annie Baker's JOHN at the Dorfman are now fixed for 2018:
It runs from January 17th to March 3rd.
Talks with Annie Baker, and Chloe Lamford/James MacDonald are on Jan 17th and Feb 1st respectively.
Can't wait!
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Post by jadnoop on Oct 25, 2017 11:13:38 GMT
How does the new cast compare to the original? I really liked the new cast on the whole, I definitely preferred Will Newton over Paddy - he had a harder edge than Paddy and it felt more real that he would have had the history he does in the play. Sarah Greene was exceptional as Caitlin. On the whole the play is as good if not better - we were worried it would lose something with the new cast but this was definitely not the case. Really glad to hear that Sarah Greene is exceptional; for me Laura Donnelly was the standout from the original cast, and given how important the Caitlin-Quinn relationship is to the play, it's great to hear that the new cast is better. I really loved Paddy Considine; for me his ability to be both charming and menacing in things like, say, Shane Meadows' wonderful Dead Mans Shoes made him great as Quinn Carney so it'll be interesting to see someone playing the role more explicitly hard edged. Out of interest, how's Will Houston's accent? I haven't the best ear for accents, but Paddy's seemed to be a little shakey, sometimes sounding a little american.
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Post by jadnoop on Oct 24, 2017 14:32:51 GMT
Hmmm. It looks like some information is hidden on the NT website about the dates for next year's plays. Specifically, John (yay, can't wait), Macbeth and The Great Wave. From a little rummage around, we have: Macbeth in April, see the talk with Rufus Norris on Apr 30th www.nationaltheatre.org.uk/tickets/10694John in January, see the talk with Annie Baker on Jan 19th www.nationaltheatre.org.uk/tickets/10692John in February, see the talk with Chloe Lamford and James MacDonald on Feb 1st www.nationaltheatre.org.uk/tickets/10687The Great Wave in March, see the talk with Tom Piper on Mar 28th www.nationaltheatre.org.uk/tickets/10682Anthony Sher talk about The Lear Diaries on Mar 23rd www.nationaltheatre.org.uk/tickets/10688If anyone wants to have a rummage around you might be able to find the full dates, but I haven't the time to write the code for that. edit: IIRC John has until now just been listed as 'early 2018' in the Dorfman, or something similar. Presumably this means it will run after Barbershop Chronicles, through January & into February, before The Great Wave. So hopefully tickets will go on sale soon!
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Post by jadnoop on Oct 24, 2017 10:47:11 GMT
'Sylvia' looks interesting. And here was I thinking that Katie Price was just about her boobs and writing autobiographies. Plus the beautiful singing voice:
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Post by jadnoop on Oct 24, 2017 10:44:06 GMT
Fanny and Alexander adapted by Stephen Beresford Intriguing. I wonder how this is going to work. The complete version is over 5 hours long, and even the shortened film adaptation is a smidge over 3 hours.
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Post by jadnoop on Oct 20, 2017 11:09:55 GMT
This production is beginning to sound as gimmicky as hell. First eating on stage, now punters sending in videos of themselves. What other tricks does Van Hove have up his sleeve? Extra loos installed for this show - on-stage. I've never felt so conflicted about clicking 'like' on a great comment.
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Post by jadnoop on Oct 20, 2017 8:23:40 GMT
Hopefully any updates to well worn plot twists don't go the way of Tim Burton's 2001 Planet of the Apes though. A pedant writes: the Tim Burton film actually restores the ending of the original novel Woah, I had no idea! Something new every day. That makes the Heston movie all the better for coming up with that great twist on the books original twist.
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Post by jadnoop on Oct 19, 2017 14:14:02 GMT
I wonder when they'll announce specifically which episodes they'll be doing, although they've listed the screenwriters which narrows it down somewhat.
Pretty intrigued by this. Hopefully any updates to well worn plot twists don't go the way of Tim Burton's 2001 Planet of the Apes though.
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Post by jadnoop on Oct 18, 2017 14:30:52 GMT
This is presumably intended as a way of bringing the themes of the film to the way that technology's used in the modern day. But I can't help but feel it can't really work as intended. I imagine this being used to show how Howard Beale/Bryan Cranston's catchphrase goes viral, like in some sort of television collage. But while getting genuine public videos is a neat semi-meta idea, I'd guess that the selection bias of people who get (and care about) tweets from the National Theatre is going to reduce the impact of a collage of images. edit: I hope I'm wrong, but in my mind this will end up as a split between middle class Londoners, and drama students, rather than a representation of the masses.
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B
Oct 16, 2017 23:02:56 GMT
via mobile
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Post by jadnoop on Oct 16, 2017 23:02:56 GMT
I found this quite interesting & enjoyable, if strange, frustrating & opaque in parts. The references to Harold Pinter crossed with Four Lions that some reviewers have said sounds about right to me. And, like the recent The Caretaker and No Mans Land, while I found it amusing there were some audience members who seemed to find it absolutely side-splitting.
The play is mostly about the different and changing motivations that revolutionaries/terrorists have; and my feeling was that while the play sympathises with some of the protagonists ideas, it also highlights the contradictions and hypocrisy involved. The funniest bit is a segment that echoes the 9/11 conspiracy skit by The Onion from a few years ago.
For me the most interesting topic was the question of what happens to people who have spent a significant portion of their life growing up preparing for some big revolution that never actually happened, or has been lost. I wonder if the play might connect better in places where this sort of thing is a bigger part of the recent history.
The performances seemed pretty good; even with the main actors in masks for much of the first half, and I thought the staging of the finale was surprisingly tense.
3 stars seems about right.
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Stink
Oct 16, 2017 18:22:11 GMT
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Post by jadnoop on Oct 16, 2017 18:22:11 GMT
Few are completely innocent. And you, yes you.... youre probably not either! Yep, that's sort of the point I was trying to make.
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