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Post by adrianics on Jun 17, 2016 12:33:34 GMT
Going to see the final Saturday night preview of The Book of Mormon in 2013 (God, was it *really* that long ago?). I can honestly say it's the best audience I've ever been in for anything, the atmosphere was positively electric and the audience immaculately behaved, not a whisper to be heard or a phone in sight, and raucous laughter and applause in all the right moments. The cast was absolutely sensational with not a single performance from the lead to the dance captain being anything short of outstanding, and it was just so amazing to be in that theatre when everybody involved in any way was clearly just so thrilled and excited that BOM had finally made it to the West End. I still smile thinking about it!
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Post by adrianics on Jun 9, 2016 9:06:13 GMT
No doubt in my mind that the audience member involved said absolutely nothing of the sort, at most probably a polite "could you please not do that?"
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Post by adrianics on May 16, 2016 16:02:20 GMT
Upper circle was closed on Saturday, so...
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Post by adrianics on May 16, 2016 15:18:19 GMT
The only notice up on Saturday was that the understudies for Big Julie and Rusty Charlie (although they mixed that up and said that [actor's name] will be played by Rusty Charlie, which made me laugh) were on. It's just occured to me now that the reason the Rusty Charlie understudy was on was because the normal Rusty Charlie actor was playing Nathan Detroit instead of Richard Kind. This strikes me as sneaky and deliberate, and is pretty much a dick move on the theatre's part.
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Post by adrianics on May 16, 2016 13:34:02 GMT
Saw the matinee on Saturday having gotten some very last-minute tickets. If anything this has gotten better since I saw it at Chichester two years ago, a very energetic and lively production of one of my favourite shows.
These are very well-defined and infamous roles with no little expectations attached to them, and to that end I think the four leads are doing a stupendous job and working very hard to bring something new to these characters. I particularly loved Siobhan Harrison's Sarah Brown, who she played as much more energetic and good-humoured than usual. The chemistry between her and Oliver Thompsett (particularly during their first scene, such a great interpretation for Sarah to be receptive to Sky and laughing at his antics from the start) was blazing and their singing on-point. Gavin Spokes absolutely brought the house down as Nicely-Nicely, blowing the roof off the theatre by the time SDYRTB came along.
My only complaint was that the understudy for Nathan Detroit was on, and while I have no problem with this despite Richard Kind being high on my list of reasons why I wanted to see this production, it was incredibly disappointing that the theatre made no kind of announcement whatsoever and the first the audience found out was when the understudy took the stage. The understudy was excellent (if incredibly David Hague-esque), but this is not fair on him or the audience. If it was a last-minute thing, don't they normally make an announcement over the PA?
One tidbit I found interesting from eavesdropping in the audience regarded the understudy for Big Julie, who wasn't listed anywhere in the programme. Apparently he was flown in from the UK tour at the last second? Either way he was just great!
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Post by adrianics on May 16, 2016 11:28:26 GMT
Guys and Dolls matinee on Saturday - A surprisingly and pleasantly well-behaved audience, if you ignore some talking during the overture/entracte and some old dear behind me who started whispering punchlines before the actors said them.
It's gotten to the point where I consider the absence of genuinely obnoxious behaviour a victory. Like, whispering and phone checking *is* going to happen no matter how angry I get, so what's the point?
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Post by adrianics on Apr 24, 2016 20:39:48 GMT
Very keen am dram performer and follower checking in. It could be because of my location (West London), but I do believe the by-gone days of am dram are over and the stereotypes are no longer relevant. The standard of shows tends to be high, if not quite professional standard, because most of the performers are either very dedicated youngsters, young adults with at least some professional training and very experienced adults. I went to see SEOD's performance of Legally Blonde last year and honestly, if I didn't know they were amateur I never would have guessed. Yes, you do get the odd deluded "temporarily embarrassed professional" and some of the politics are completely ridiculous but am dram has been instrumental in settling me in to my new home and has done absolute wonders for my confidence. I just got done playing Emmett Forrest locally, my first ever leading role, and it was such a huge achievement that taught me a lot. I wouldn't hesitate to recommend amdram to anyone, performing or watching
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Post by adrianics on Apr 16, 2016 21:48:30 GMT
It's gotten to the point where I can no longer tell where my sh*tty luck ends and the general decline of the standards humanity sets itself begins, I genuinely can't remember the last time I went to a show and wasn't sat within touching distance of a selfish arsehole talking to their companion or checking their phone.
I'm an engaged man and soon-to-be homeowner, and I just can't continue to justify the amount of money it costs us (tickets, food/drink and travel) to go and see a show in the West End when these people genuinely ruin the experience with their inconsideration. Honestly, I think I spend more energy dreading what negative audience experience a show will bring than I do looking forward to the show.
Last weekend I went to an excellent amateur production of Little Shop of Horrors in Ealing, and a man sat in front of me alternated between talking (not whispering!) to his partner, checking the football on his phone and *waving to cast members on stage*. Then afterwards he had the nerve to talk to the cast as if he'd been paying the slightest bit of attention! I kind of had to laugh at that point at the complete shamelessness of it all...
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Post by adrianics on Apr 3, 2016 15:32:37 GMT
In The Heights on Thursday. Very excited for my first LMM experience
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Post by adrianics on Apr 2, 2016 20:39:15 GMT
This is all incredibly helpful, thanks everyone - Will hold off on booking tickets for now
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Post by adrianics on Apr 1, 2016 15:23:31 GMT
We're spending a week at the Edinburgh Fringe Festival in August - It's our first time and all very exciting if slightly expensive!
We're huge fans of improv theatre so have packed our week with tickets to improv shows, the priority being Showstopper! which was incredible when we saw it in London.
My main question for anyone who's been before is: Is it better to keep your schedule free so that you can be a bit flexible on the day? We've mainly been using the official websites to book tickets but I'm not sure if every show (particularly the smaller ones) will be on there, but I'm also weary that crowds at venues and ticketing offices will probably be extremely busy at the time. Could someone who has done the Fringe previously advise on their experience and what the best course of action is?
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Post by adrianics on Mar 21, 2016 10:38:31 GMT
Was introduced to a new one at the Showtime Challenge production of Thoroughly Modern Millie last night - Digital watches (iWatches etc). Like a constantly lit phone screen except permanently on display and checked very regularly.
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Post by adrianics on Mar 18, 2016 16:27:15 GMT
Spotify Premium - £9.99 and all the music I could possibly want, I actually can't remember the last time I bought music (apart from maybe a cheap CD from a charity shop for the car).
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Post by adrianics on Mar 15, 2016 12:56:44 GMT
Literally all I care about in any given production is performer and understudy information, so I frankly resent having to pay £10 for a combined programme/souvenir brochure where 99% is stuff that will date very quickly and that I wasn't interested in to begin with.
As far as I'm concerned, the Playbill model (basic information for free, then you can pay extra for a brochure with pictures etc if you want to) is ideal and I really wish they'd adopt it in the West End.
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Post by adrianics on Mar 10, 2016 15:26:28 GMT
Tailor Made Man had some pretty glaring flaws but some really nice songs, and the subject matter was incredibly important and interesting. It's such a shame that there doesn't seem to be any interest in revisiting it or reviving it because there was a great show in there somewhere!
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Post by adrianics on Mar 10, 2016 15:06:47 GMT
High Fidelity. It has a nicely eclectic soundtrack, genuinely funny lyrics, does a great job of both satirising and celebrating pop music (the Bruce Springsteen parody Goodbye And Good Luck is particularly funny) and some moments of real pathos near the end. Also a mighty lead role and nice supporting roles thrown in, would love to see a fringe theatre like the Union or Southwark Playhouse put it on.
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Post by adrianics on Mar 10, 2016 10:02:28 GMT
Add my voice to the Cats and Wicked crowd. Watched Cats for the first time last Christmas and alternated between being bored, being baffled and cringing (that rap is a full-on crime against humanity). Wicked is just dull as dishwater.
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Post by adrianics on Mar 8, 2016 12:40:01 GMT
I don't tend to see a show more than once, so this thread is difficult, but I will throw my hat in the ring for Jonathan Williams as Jean Valjean (2009) - Absolutely incredible and the best Valjean I've seen by quite some distance.
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Post by adrianics on Mar 3, 2016 8:00:15 GMT
I tend to get way too involved in shows I've performed in myself, so now find myself unable to listen to No Choir of Angels from The Hired Man, or the title song from Legally Blonde (that was particularly difficult on closing night, let me tell you).
In the audience, I'd say
-Bring Him Home and the fall of the barricade in Les Miserables, so powerful to finally see both of those in context
-Falling Slowly (reprise) from Once
-He Could Be a Star from Billy Elliot
-Memphis Lives In Me
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Post by adrianics on Mar 2, 2016 14:17:45 GMT
Money, fame and prestige probably doesn't make your father being diagnosed with cancer any easier. Also really classy of you to bring up a completely irrelevant second-hand anecdote. And I would imagine most employers wouldn't have a problem with you taking a personal day to deal with such news.
I also don't particularly blame her for broadcasting her emotions over Twitter, it's a pretty devastating thing to have to go through and people don't tend to think rationally in such situations.
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Post by adrianics on Mar 2, 2016 9:58:08 GMT
I think offering to replace Menier tickets with Savoy tickets is already above and beyond anything anyone has any right to expect, purchase of a ticket doesn't guarantee a performer.
I will echo the sentiments: If it's true that Smith is being pressured to 'make amends' for her absence, or being made to feel like she has to explain herself, then the people running this show are scumbags and should feel utterly ashamed of themselves. If it's self-applied pressure then it's natural for her to feel that but the production team should be standing behind her and discouraging people from contacting Smith.
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Post by adrianics on Mar 2, 2016 9:09:51 GMT
Sheridan Smith may be famous, but she is a person. Her father is sick. I literally cannot understand the kind of person you would have to be to think that she's somehow doing you a disservice by missing a show to deal with this news. She owes nobody anything.
And of course, she offers reimbursement to one person so all the selfish pricks come out of the woodwork. Sometimes I despair.
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Post by adrianics on Mar 2, 2016 8:57:20 GMT
Going through Smith's Twitter feed right now is something else, do people have no sense of proportion or shame? Why would you think it's acceptable to send her a message about how her personal tragedy has effected you?
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Post by adrianics on Feb 26, 2016 8:22:02 GMT
Finally managed to bag tickets to The Lion King (which my fiancee has wanted to see for years) and we went last night. A very rambunctious and enthusiastic audience, but you kind of expect that with such a high-profile and tourist-friendly show. One woman behind me had a particularly eager young daughter (I put her at age four or five) who asked many questions throughout but since they were being quiet enough and kids will be kids, I didn't have a problem with it. Then the mum decides that halfway through Can You Feel The Love Tonight is the perfect time to have a full-blown, natural volume, actual everyday conversation. After being shushed several times by both my fiancee and people around them, I eventually turned around and said "could you *seriously* just stop talking"... And in the blood rush to my head I didn't realise it was right at the end of the song, during the quietest bit. So I guess you could make an argument that the disruptive audience member was me As an aside, those buckets of sweets and popcorn they sell at the Lyceum are literally the worst thing that's ever happened.
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Post by adrianics on Feb 16, 2016 10:28:44 GMT
Richard Kind as Nathan Detroit?? Oh my God, that's AMAZING! Right, will be right in line to see this
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