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Post by Kenneth_C on Oct 6, 2017 16:22:58 GMT
Honestly I didn't see the fuss about the play at all when I saw it in LA. Though I suppose it may well be better with this cast and director (and no jetlag). On the face of it I'm not that bothered about seeing it again, though. It was the same cast (including Tony-nominated Denis Arndt) and director as the Off-Broadway and Broadway runs in L.A. But I agree it was underwhelming. It held my interest for the first 20 minutes or so, but then.... Someone said it was less a "play" than an "acting exercise", and that pretty much sums it up.
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Post by Kenneth_C on Oct 6, 2017 14:32:33 GMT
Re: Amex Presale Well, I checked out a half dozen Two-Show days in May -- and was offered the exact same ticket for each one. Orchestra Row O, Seat 111, for $318. If I threw that one back and searched again, I was offered Orchestra Row T. So definitely not much in the way of selection. Will check again in the coming weeks, although right now I am definitely leaning more to the "not going" side. I know what you mean about it never quite measuring up to the previous experience (though I'm not that upset about losing Tovey as I would other cast members and we may get someone even better!). But it's also providing a good enough reason to go to New York so I can't complain too much! I'm heading to NYC in a few weeks -- somewhat unexpectedly, but I got Springsteen tickets for my birthday. (I gave them to myself, but still...) It will be my 3rd trip this year, which is 2 more than I normally do. And "even better than Mr. Tovey"?!? Bite your tongue! But I know you are a huge James McArdle fan, so we will just have to agree to disagree.
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Post by Kenneth_C on Oct 6, 2017 5:52:01 GMT
I wouldn't stress about the Amex presale. There will likely be only a limited selection on sale. From past experience, I rarely find tickets I want during them and do better during the regular onsale. That said, I will probably check it out tomorrow -- even though I'm not sure I actually want tickets! The experience at the National was so sublime that I fear Broadway can only come up short. The Neil Simon is much smaller than the Lyttelton, so there are bound to be compromises to the staging. And there will also be no Mr. Tovey. I'd also need to put together a week's worth of theatre-going to make it worth my while and, right now, I'm having a hard time doing that. But, we shall see....
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Post by Kenneth_C on Sept 28, 2017 15:04:40 GMT
Saw this yesterday. I thought it was a nice show but nothing special. My friends and I came out saying it was pretty but very vanilla. However, the cast is great, not a weak link. For me the score is nice but not memorable. It's one of those I don't regret seeing but I don't need to watch it again and it won't stick in my head for long. I saw it two weeks ago and totally agree with you. I found it to be a very enjoyable evening that nevertheless evaporated from my mind within minutes of leaving the theater. (Except for Ramin, who could never evaporate from my mind....)
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Post by Kenneth_C on Sept 28, 2017 2:51:14 GMT
The finest of the historic movie palaces is now a legit theatre, the home of touring Broadway musicals - the Pantages, on Hollywood Boulevard at Vine. Just walk into the lobby and look around, it's amazing. Further down the road Mann's Chinese Theatre with all its tourist accoutrements is still a movie house. Not sure what it's like inside anymore. It hasn't been called Mann's Chinese Theatre since 2001 (the year, not the movie). It went back to its original, historic Hollywood name of Grauman's then, until naming rights were bought by TCL in 2013. So, although it is "officially" the TCL Chinese Theatre, everyone still calls it Grauman's. It's a great place to see a movie, having one of the largest IMAX Laser screens in the country. When it was renovated several years ago, they completely changed the seating, rake, etc. -- while retaining most of the architectural & design elements (walls, ceilings, lights, etc.) I think it's a pretty successful mix of the historic and the contemporary. The following video of the renovation gives you some idea. Across the street from the Chinese is the El Capitan, which has been owned by Disney since the 80s. They have done an extensive refurb/restoration to it since then, including the installation of a massive Wurlitzer organ. They only screen Disney fare -- both current and classic -- but often have special events (such as pre-show entertainment, character meet-&-greets, costume exhibits, etc.) elcapitantheatre.com/aboutFor upscale movie houses: there is the ArcLight, as mallardo mentioned. A class act, all the way. But, instead of the Pacific Theatres multiplex at the Grove (which I rather loathe), I prefer either the AMC 15 in Century City or -- even better -- the AMC 19 at Universal CityWalk. It has a true IMAX screen -- not LieMAX -- and is still capable of screening actual 70mm film. I recently saw Dunkirk there in IMAX 70mm and it was breathtaking. Finally, I have to mention the New Beverly Theatre in Hollywood. It's not historic. It's not architecturally significant. It's nothing but a small, neighborhood revival house. BUT it warrants mention because this small, neighborhood revival house happens to be owned by Quentin Tarantino and has a policy of only screening film. No digital. And Quentin himself often makes his own personal prints available for viewing. Not just his own films, either. Last year, for example, the New Beverly screened his personal 35mm print of Sergio Leone's Once Upon A Time in the West. It was gorgeous! (And QT sat behind me at the screening.) More recently, the New Beverly got Lionsgate to strike a 35mm print of La La Land (the first one in existence) which they screened along with a Q&A with director Damien Chazelle. thenewbev.com/about/
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Post by Kenneth_C on Sept 23, 2017 5:47:29 GMT
come on....ban hoodies from shakespeare...take note rsc....so naff. Take note, Benedict C. Oops! Too late....
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Post by Kenneth_C on Sept 23, 2017 3:51:16 GMT
I've had this on repeat (of course) since I saw the show last week: Now, however, I am going to have to set aside some time for:
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Post by Kenneth_C on Sept 21, 2017 18:27:45 GMT
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Post by Kenneth_C on Sept 8, 2017 16:44:42 GMT
Leaving tomorrow for NYC and a week of Theatrical Madness:
Saturday evening - Hello, Dolly (Donna Murphy) Sunday matinee - Dear Evan Hansen Sunday evening - A Clockwork Orange Monday - Miss Saigon Tuesday - Hamilton Wednesday matinee - A Doll's House, Part 2 Wednesday evening - Hello, Dolly (Bette) Thursday - Groundhog Day Friday - Anastasia Saturday matinee - The Play That Goes Wrong Saturday evening - Bandstand Sunday evening - Sweeney Todd
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Post by Kenneth_C on Aug 20, 2017 18:13:52 GMT
Just got a ticket for today to see some show called Hamilton at the Hollywood Pantages.
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Post by Kenneth_C on Aug 15, 2017 15:44:31 GMT
This is not just a "random" system. The key element is the pre-sale verification phase. Think of it like a background check. The page gave the impression, though, that even if there is a security check to pass, it doesn't mean you will even get a code to let you compete to get a ticket. Right, because of demand. I've been looking into this Verified Fan thing since Springsteen will be using the system for his Broadway shows. Currently, he is scheduled to play 5 shows a week for 8 weeks in a theatre that holds ~960 seats. That means his total run could accommodate about 38,000 fans. He sells that many tickets to stadium shows in a few minutes. Now, how many people might register to be verified? Tens of thousands more, I would bet. Should they send out codes to 200,000 people for 40,000 tickets? Perhaps they should, but that is a distinct matter from the "Verified Fan" system. As I said above, we really have to think of this whole "Verified Fan" thing as a background check. It is not, from my understanding, really anything more than that. Being "verified" is only Step One; there may be other gates to hurdle before being able to get a ticket. Verified Fan + Code Lotteries. Verified Fan + Internet Waiting Rooms. Verified Fan + Credit Card Entry. Verified Fan + All of the Above. Springsteen's system might end up having a different component than Harry Potter's which might have a different component than Hamilton's ( which was just announced this morning) -- but they will all share the Ticketmaster Verified Fan/background check metrics. We don't know what those are, and I doubt that we ever will. Yes, they may discriminate against people who have never bought a ticket before. They may make it more difficult for overseas buyers. We don't know. But something has to be done. It's going to be next-to-impossible to get tickets to see the Boss anyway, but I'd rather have a fighting chance against real people than against bots and whiz kids and scalpers.
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Post by Kenneth_C on Aug 15, 2017 2:27:05 GMT
I was taken aback by the ticketing system they are going to use for this. Not only do you have to pre-register (as you did in London, originally) BUT from all those pre-registrations, they will select RANDOM people who will be given the codes they need to try and book. AND they don't guarantee even those given codes will be able to buy tickets. Sorry, but I think that sucks. For sure, screen out scalpers and multiple entries, and maybe even limit pre-registration codes to the first million to register, but to randomise access twice over seems extreme and unlikely to beat professionals who will probably use software to generate a million addresses, of which many will get lucky. There seems to be a perceived wisdom that anything 'random' is 'fair'. It ignores the fact that a random system is just as likely to select a scalper as a genuine fan, and more likely once the scalpers work out how to skew the odds in their favour. This is not just a "random" system. The key element is the pre-sale verification phase. Think of it like a background check. Ticketmaster says it will run its metrics against those accounts that pre-register for access to tickets. Without saying exactly what said metrics are, I expect they will be things like past ticket-buying history, secondary market sales (using TM's in-house resale system) and possibly even attendance. (A few rock bands have added "verification" components like buying their albums through specific links or sharing posts on social media, but that is unlikely to be a factor in the case of HP.) Only after an account has been "verified" will the random codes, internet waiting rooms, whatever, come into play. The idea is that, not only will there not be an advantage for the computer whiz kid with 1000 email addresses, they shouldn't even make it into the "verified" pool to begin with. Or certainly not in the numbers they have heretofore.
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Post by Kenneth_C on Aug 12, 2017 16:19:59 GMT
Only in Sal Tlay Ka Siti"Outrageous props that resemble exaggerated male genitalia" = rubber hoses that look nothing like male genitalia
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Post by Kenneth_C on Aug 10, 2017 7:02:13 GMT
The Hudson Theatre (which is owned by ATG, btw) posted the Evening Standard article on Facebook yesterday with the following comment: "Doing our best to lead the way in #Broadway customer experience. Glassware for all!"So, they've been using glasses for months now and are very supportive of the policy. Guess they haven't had patrons smashing them underfoot, launching them at the cast or attacking the ushers with them. Who've thought? Maybe if you treat people like adults, they actually act like adults.
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Post by Kenneth_C on Aug 8, 2017 18:59:49 GMT
At the newly-opened Hudson Theatre in NYC for Sunday in the Park with George, March 2017:
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Post by Kenneth_C on Aug 4, 2017 19:56:42 GMT
Tomorrow (Saturday) I'll be seeing The Curious Incident of the Dog in the Night-Time again, having previously seen Luke Treadaway in London and Alex Sharp on Broadway.
Monday night is an encore broadcast of Disney's Newsies in the cinema, starring Jeremy Jordan and other members of the OBC.
Last but not least, I've got tickets to see Lady Gaga on Wednesday.
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Post by Kenneth_C on Jul 24, 2017 17:11:30 GMT
I'm not jealous. At. All!! ;-) If you get the time Could you post a song list? Please and thanks Enjoy the concert 😄😄😄 Your wish is my command. Intro Medley (snippets of only a line or two) Take Me to the World ( Evening Primrose) So Many People ( Saturday Night) Something’s Coming Forum Openers Medley: Invocation ( Frogs) / Forget War / Love Is in the Air / Comedy Tonight Franklin Shepard Inc. Good Thing Going Epiphany ( Sweeney) I Read ( Passion) Is This What You Call Love? ( Passion) Loving You ( Passion) Send in the Clowns Happiness ( Passion) First Act Closers Medley: Ever After / Weekend in the Country / Sunday Intermission Kiss Me [Orchestra] ( Sweeney) Opening Doors ( Merrily) Torch Song Medley: Losing My Mind / Not a Day Goes By The Best Thing That Ever Has Happened ( Bounce/Road Show) Being Alive In Buddy’s Eyes Assassins Medley: Something Just Broke / The Gun Song Finishing the Hat Beautiful ( SITPWG) Children Will Listen Medley: Company / Old Friends / Anyone Can Whistle
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Post by Kenneth_C on Jul 20, 2017 15:42:18 GMT
I will be seeing Sondheim on Sondheim at the Hollywood Bowl on Sunday. According to an interview with Sondheim published in today's L.A. Times, this will be the World Premiere of a new symphonic version of the original Broadway production. As it will also be available for licensing, it sounds like what you will be seeing at RFH.
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Post by Kenneth_C on Jul 19, 2017 21:01:06 GMT
Thursday night, of course, is the NT Live broadcast of Angels in America, Part One. Having seen it at the Lyttelton in May, I'm excited to see how it translates to the screen.
On Friday, I am going to an encore broadcast of Falsettos. I saw it last week and it was perhaps the best record of a live production I've ever seen.
Sunday night, I will be heading to the Hollywood Bowl for Sondheim on Sondheim, featuring the Los Angeles Philharmonic, with a cast including Jonathan Groff, Vanessa Williams, Jesse Tyler Ferguson, and Ruthie Ann Miles.
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Post by Kenneth_C on Jul 18, 2017 16:43:52 GMT
I think my absolute favorite is "Kiss Me/Ladies in Their Sensitivities" from Sweeney Todd. It's rapturous, suspenseful, and features one of the cleverest uses of counterpoint I can think of:
Johanna: Even as it does not matter that I still don't know your name... Anthony: Anthony! Judge: Todd... Beadle: Todd. Johanna: Anthony... Judge: Todd, eh?
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Post by Kenneth_C on Jul 17, 2017 0:45:08 GMT
Did anyone go to the cinema broadcast of Falsettos yet? how was it? any differences if you saw it live? Also anyone know any news on UK getting it? I need to cry my face off again. I saw the broadcast of FALSETTOS today, after having seen this production twice on Broadway last fall. It was quite possibly the best recording of a stage show I have ever seen. The direction (by Matthew Diamond) was just phenomenal. The framing, the editing, the camerawork, the use of close-ups, zooms, tracking shots, high angles, etc., was consistently intelligent, judiciously employed, and served to highlight & enhance the performance. It respected the stagecraft on display, while adding a dash of cinematic flair to the proceedings. As for the show itself, the NY Times said it best: "There’s hardly a moment in the exhilarating, devastating revival of the musical “Falsettos” that doesn’t approach, or even achieve, perfection." We now have a nearly perfect recording of it. Since this was initially filmed for television broadcast on the American Public Broadcasting Service, there were one or two changed lines and a deleted f-bomb. But other than that, it remained intact. There were still same-sex kisses, and Marvin and Whizzer were still apparently naked in bed together. PBS has not yet announced an air date, and, with the anti-gay administration currently in the White House, I would not be surprised if it never airs. But I do hold out hope that it will eventually make its way to DVD or Blu-ray. It would be a shame if more people cannot experience the heart-rending brilliance of this FALSETTOS. (P.S. The thread title is misspelled.)
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Post by Kenneth_C on Jul 7, 2017 3:56:05 GMT
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Post by Kenneth_C on Jun 15, 2017 22:59:40 GMT
Currently listening to: One of the best things I saw in NYC last fall.
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Post by Kenneth_C on Jun 4, 2017 20:05:41 GMT
Tonight, I'm seeing THE BOOK OF MORMON (for the umpteenth time) at the Hollywood Pantages.
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Post by Kenneth_C on Jun 3, 2017 1:00:35 GMT
If you have not yet been exposed to the wonder that is Randy Rainbow, let this be your introduction:
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Post by Kenneth_C on May 21, 2017 19:23:27 GMT
Will be back in London on Wednesday for 4 days.
Wednesday: DREAMGIRLS Thursday: WHO'S AFRAID OF VIRGINIA WOOLF? Friday: 42ND STREET Saturday: ANGELS IN AMERICA
Looking forward to them all (with ANGELS being at the top of the list).
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Post by Kenneth_C on May 10, 2017 7:59:24 GMT
Saw this last night, and found it to be a very fine production of a terrific play. It's my second encounter with The Goat, or Who is Syvia? after first seeing it several years ago in a small theatre in L.A. At the time, I had no idea what I was about to experience and remember stumbling out of the theatre afterward in something of a daze. The current production didn't have quite that impact, but that could be largely due to my familiarity with the material. Cannot fault the actors, at all. The one thing I didn't get was the walls - what was the point? Clearly some sort of artistic decision that is meant to symbolise something, but it went over my head. I think it would've worked better with a static set like the current production of Virginia Woolf - the material is so good that you can just let the actors do their job, I didn't see the need for embellishments like that. The one issue I had with this production was the set. It's gorgeous, but - not only do I not understand the point of the walls - I think the design is completely wrong for the play. It is far too warm and "rustic", making Martin's search for a residence in the country (and the epiphany he experiences while there) somewhat groundless. I think a more modern, Manhattan-penthouse-type set, serves the piece better.
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Post by Kenneth_C on May 6, 2017 22:15:09 GMT
This week I am going to... LONDON. I'll be coming in from across the Pond, for my annual visit. Monday is Don Juan in Soho. Tuesday is The Goat, or Who is Sylvia? And Wednesday is Harry Potter and the Cursed Child. I will then be heading off for a couple weeks, but will return later in the month to see Dreamgirls, Who's Afraid of Virginia Woolf?, 42nd Street, and Angels in America.
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Post by Kenneth_C on May 5, 2017 15:54:43 GMT
Is it bad or is it destined to be one of those that people didn't get now but may have life in fringe down the years! It would be better if it were bad, honestly. It's just so very, very meh. For a short, intermission-less piece, it seemed to go on forever. I don't think I've seen more seat-fidgeting, watch-looking, and nodding-off from an audience before. I don't think that people didn't "get" the show, as there's really not much to "get". It doesn't have edgy or bizarre subject matter ( American Psycho, Assassins, Carrie, Sideshow). It's not playing with the form ( Merrily We Roll Along). It's a straightforward, mundane retelling of the movie. It leans too much on its source and never finds a way to become its own beast. I also doubt it will have much of a life later. The best thing about the production is a colorful, whimsical set design that captures the look of the movie. Fringe productions would not be able to replicate that, and the show is just not good enough to warrant more investment or energy, imo.
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Post by Kenneth_C on May 4, 2017 1:45:07 GMT
I love Comet for it's staging, and for being a real innovative but fun evening at the theatre. Far from being a "fun evening at the theatre", Comet left me feeling figuratively battered and bruised. It was one of the most unpleasant experiences I have ever had in the theatre. Let me explain... I saw it during previews, from a central Orchestra [Stalls] seat, next to a runway located house right. I had read really good things about Comet from its regional performances, and decided to take a chance on this new musical. Walking into the theatre, everything looked amazing and I was really excited for what was to come. Unfortunately, my excitement crashed & burned within a few minutes of the start. Remember that ramp I was sitting by? Well, it was inhabited by several members of the Ensemble whose idea of 'audience interaction' amounted to screaming in our faces "Are we having fun yet?!!!" (Not literally, but you get the idea.) It was like suddenly finding yourself dropped into Baz Luhrman's Moulin Rouge -- specifically the "Can Can" number, full of in-your-face leering and desperately OTT antics. Once established, that mode basically kept up for the next 2 hours. Even when the Ensemble weren't screaming in my face, I found the show overly loud, overly boisterous, and overly busy. For example: there was one song (don't remember the name but it was between Natasha and her BFF) where the two actresses began singing at one level of the stage opposite one another, ran up the stairs behind them part way through, then crossed over, then ran back down the stairs. Completely meaningless activity that was distracting and did nothing but try and force energy into an otherwise dormant scene. [Gawd forbid that two people stand still for 4 minutes and sing a song!!!] The audience response at the end was tepid, with most of the enthusiasm coming from the onstage banquettes (who were no doubt happy with their pierogies). As I walked out of Comet, I not only had a headache from the onslaught of the prior 2 hours, but I was convinced that it would be slaughtered by the reviewers. It was, I believed, a tale told by idiots, full of sound & fury and signifying nothing. So, you can imagine my UTTER SHOCK when Comet opened and reviewers fell all over themselves. I don't think I have ever felt more disconnected from other people's theatrical experiences than that. I have been told, by people I know & respect, that changes were made since I saw it in previews. That staging was improved and that the hyper-aggressive Ensemble interactions have been considerably toned down. I have been told that I really need to see it again. But my original experience was far from being a "fun evening at the theatre".
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