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Post by theatrelover123 on Nov 14, 2019 17:40:23 GMT
Anybody know if Sam is back on tonight?
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Post by theatrelover123 on Nov 3, 2019 23:30:04 GMT
The place really isn’t doing well at all. Seems to have a constant stream of flops that make it no money. How is it managing to survive? They should really start using similar techniques other companies use with seat-filling and Rush tickets etc to build word of mouth and gain exposure. Erm they do. Pretty much every Charing Cross show has been on papering and seat filling sites and groups daily for the last few years.
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Post by theatrelover123 on Nov 1, 2019 14:45:05 GMT
The Butterfly Lion, transfer from Chichester where it ends a sell-out run on 15 Nov? Great reviews to support it, and perfect non-panto holiday fare. The Man in the White Suit finishes on 7 December. Curtains starts 13 December.
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Post by theatrelover123 on Oct 31, 2019 7:46:43 GMT
Why not? Everyone is out for a deal. If it's there, I am taking it. For the last 2 years, I have never paid more than an average of £30 a ticket and have always sat either Premium, A or B for any show. Why should people have a worse view just because they can't afford the higher priced seats? Ticket prices are astronomical and only going up, let's see better pricing in theatre up and down the country, but especially in London. Oh I get taking advantage of a deal if it’s there.. but why should you pay £20 and get an amazing seat when many have paid £65+? These shows cost so much money to stage.. they have to make money back. You want everyone to take a pay cut so you can sit in the stalls for £20? Yep. Yep. That’s exactly how it works. There are no unions. If producers discount a ticket then that price difference comes off one of the Swing’s salary. I definitely think everybody should consider other people who paid full price and avoid all discounts. That’s the best moral thing to do and is what should happen if presented with discounts for food, flights, electricals etc. Even if you don’t earn much you should definitely cripple yourself financially to follow this philosophy. Yep. Exactly
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Post by theatrelover123 on Oct 30, 2019 21:52:55 GMT
Phone call from the NT, telling me I've been re-seated due to sightline issue. Will report more when I know what they mean... There are many sightline issues with this show ;(
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Post by theatrelover123 on Oct 25, 2019 10:52:11 GMT
Artwork
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Post by theatrelover123 on Oct 25, 2019 10:32:10 GMT
HOW did Ed Stoppard get cast in this?
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Post by theatrelover123 on Oct 24, 2019 22:41:15 GMT
She’s exciting. Another production of that play is not. What a shame ;(
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Post by theatrelover123 on Oct 24, 2019 11:28:52 GMT
Showing as 4-11 Jan 2019 on the SP site
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Post by theatrelover123 on Oct 24, 2019 8:41:00 GMT
Brenda Edwards will be playing the role of Deloris Van Cartier for Thursday matinee performances.
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Post by theatrelover123 on Oct 23, 2019 10:08:23 GMT
The Barbican has announced its January to August 2020 Theatre and Dance programme in the Barbican Theatre and The Pit. Highlights include the return of director Ivo van Hove, the transfer of Regent's Park Open Air Theatre's Evita and the UK premiere of Katie Mitchell and Alice Birch's Orlando.
Director Ivo van Hove returns to the venue with two UK premieres. First is a co-production with Odéon-Théâtre de l'Europe of The Glass Menagerie, which will star Isabelle Huppert in Tennessee Williams' story of loneliness, lost dreams and illusions and will play from 5 to 11 June.
van Hove will also bring Internationaal Theater Amsterdam back to The Barbican from 16 to 19 April with Death in Venice, based on Thomas Mann's novella and the author's own life experiences. This theatrical adaptation by former Dutch poet laureate Ramsey Nasr will include new music by Nico Muhly, played live by the Britten Sinfonia.
The Barbican will continue its relationship with Regent's Park Open Air Theatre and bring the transfer of Tim Rice and Andrew Lloyd Webber's musical Evita to the Barbican Theatre from 27 June to 22 August. Directed by Jamie Lloyd, the show enjoyed a sell-out season at Regent's Park Open Air Theatre earlier in 2019.
Regular collaborators Katie Mitchell and Alice Birch will return to the Barbican Theatre with the UK premiere of Orlando, performed by long-standing collaborators Schaubühne Berlin. The production moves through 400 years of history based on Virginia Woolf's 1928 novel on gender fluidity and will play from 2 to 5 April.
Continuing their relationship with the London International Mime Festival, Child (Kind) and Cold Blood will play in the Barbican Theatre, and Chimpanzee and ROOMAN in The Pit. Child (Kind) is a UK premiere from Belgian company Peeping Tom, the final instalment of their family trilogy and developed from impressions of childhood shared by the whole company including co-directors Gabriela Carrizo and Franck Chartier. It plays from 22 to 25 January. Chimpanzee is a UK premiere from American puppeteer Nick Lehane playing from 21 to 25 January, while ROOMAN features Australian performer Fleur Elise Noble and plays from 14 to 18 January.
Barbican artistic associates Cheek by Jowl and Piccolo Teatro di Milano will bring the UK premiere of The Revenger's Tragedy (La tragedia del vendicatore) – directed by Declan Donnellan and designed by Nick Ormerod – to the Barbican Theatre from 4 to 7 March. Written by Shakespeare's contemporary Thomas Middleton at a time of growing social unease, the play reveals a government embroiled in shady affairs and a society obsessed with money, social status and fame.
Coinciding with Artemesia – a major exhibition at the National Gallery – Breach Theatre make their Barbican debut in The Pit with their acclaimed production of It's True, It's True, It's True as part of a national tour from 31 March to 9 April. The shows tells of the 1612 trial brought by the painter Artemisia Gentileschi and includes court transcripts to ask how much has really changed.
As the co-founders of Belarus Free Theatre, Nicolai Khalezin and Natalia Kaliada were exiled from their native country and now make theatre with their Minsk-based ensemble over Skype. The company present their Barbican debut with a UK premiere of Dogs of Europe, a political thriller based on the novel by Belarusian author Alhierd Bacharevic and playing from 13 to 16 May.
Sardegna Teatro and Compagnia Teatropersona will also make their Barbican debut in the Theatre with a UK premiere of an all-male Macbeth (Macbettu), directed by Alessandro Serra and using rituals, rites and rhythms rooted in Sardinian culture in the production. It plays from 20 to 23 May.
Other shows in The Pit include a Barbican debut by Diverse City with Mid Life – created by co-artistic director Claire Hodgson and playing from 19 to 22 February – a UK premiere of The Bees' Road by director Ofira Henig and actor Khalifa Natour from 30 April to 2 May.
Toni Racklin, Head of Theatre and Dance, said: "Our new January to August 2020 season in the Theatre and The Pit sees a range of boundary-breaking artists engaged with today's fast-changing world. Whether by looking afresh at classic texts or giving a voice to those whose stories are seldom heard, these thought-provoking performances take us in new and unexpected directions."
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Post by theatrelover123 on Oct 18, 2019 9:53:15 GMT
This pushed me over the edge so I’ve booked. Managed respectable price for the date I chose. Not even the prospect of Peter Wight delivering exactly the same performance as he always does put you off ? I'm waiting, I'll be back on this thread when I'm holding my £20 TodayTix Rush stalls seats. Plus Toby Jones, Richard Armitage, Ciaran Hands and Anna Calder Marshall all delivering exactly the same performances they always do
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Post by theatrelover123 on Oct 18, 2019 7:57:00 GMT
Anyone wary of spoilers could just avoid the thread...I think it's fair for people to want to discuss once they have seen it! Nope. It's entirely fair for people to want to discuss it once they have seen it. Nobody is disputing that. It is however equally as easy to add any spoilers in spoiler tags, as per the terms of the board! Oh and disco dancing IS a spoiler too!
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Post by theatrelover123 on Oct 17, 2019 21:26:21 GMT
I adored this last night! Duncan Macmillan's dialogue is superb, capturing the way people prevaricate, blunder and qualify their way through conversations. It's a funny, dramatic, specific yet universal, and ultimately profound show, with two wonderful and memorable performances from a neurotic Claire Foy and laid-back Matt Smith. Some spoilers follow. . . I can think of three things that might niggle people about this show: (1) These characters are so woke about the environment that some will dismiss them as cranks and fail to empathise. I mean, I can't imagine Billie Piper's Yerma questioning her biological instincts on the grounds that having a child produces 10,000 tonnes of CO2. Still, Macmillan was ahead of the game on this one, as in 2011, Greta Thunberg was an unknown tot, and now she's a global hero for worrying about exactly the sorts of concerns this couple worry about. In this respect, this play is the zeitgeist! (2) Claire Foy could be funnier. This is true, as Macmillan writes lines like rollercoasters, twisting and turning with hesitations, qualifications and sudden unsupported assertions, and Foy, rather than playing these twists and turns for laughs, sticks sternly to the slightly unhinged, vulnerable and angry truth of her character. One can imagine the hilarity that could be achieved if someone as emotionally torrential and camp as Andrew Scott were playing the part of this neurotic woman, how low and high he could swing in his efforts to fox and flirt with the audience, how long he would linger on certain flavourful words, how fast he would shoot himself down thereafter. Simply put, with the right actor, the part of Woman could be a laugh riot. It isn't, as Foy plays the part for realism, but the dividend ultimately was that I was reduced to tears. (3) Macmillan overly leans into the stereotype of the crazy emotional woman and the taciturn protective man. This potential niggle bothered me the longest, as I had Macmillan down for someone who would work to discredit character clichés, rather than use them. But of course, stereotypes can be true in individual cases, and Macmillan works hard to broaden his characters beyond cliche, particularly in the case of Matt Smith's M, who specifically addresses his supposed taciturnity in a wonderful speech that upends the very cliche. Smith himself is a truly exceptional stage actor, able to hold the stage unselfconsciously in silence, to convey so much, so many colours. I believed him utterly, and he serves the drama more than is immediately evident, for though Foy has the vast bulk of the lines, it is Smith who makes us believe in this couple, that they are a couple, that he loves her in spite, or perhaps because of her neurosis. And when he does get lines, he's natural, original and electric. The play ultimately is immensely profound, capturing not only the minutiae of how we speak, but also the enormity of the planet and our place in it, and most of all, our entrances and exits. It's terrific! 4 and a half stars. PS: Before a show, I tend to unwrap 4 polo mints and place them in my breast pocket for quiet consumption during the play, especially during lulls in the action. This play was so gripping for me that I forgot to consume a single mint, something that has never happened before lol! Spoiler tags please?!
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Post by theatrelover123 on Oct 17, 2019 21:25:33 GMT
I can’t share your enthusiasm Steve. Yes Smith acted his socks off. Foy v skilful. Tbh I thought it was sentimental, a simple love story set in troubled times, moving a little, funny nods and winks to audience. New ending apparently, disco dancing with flashing lights Spoiler? ;(
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Post by theatrelover123 on Oct 15, 2019 6:46:20 GMT
Anybody know a rough running time? And any reports on what the infamous Stalls Q35 is like for this one?
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Post by theatrelover123 on Oct 8, 2019 12:37:53 GMT
I saw this last night and had a terrific time. Great? no. But a slid evening of light comedy, broad farce and inventive staging. Stephen Mangan is terrific in the title role and I basically loved the farcical approach whic Sean Foley took to the material. The design elements are great fun as well. I'd easily recommend this to friends - though not worth a premium price, it is a good time. Oh that's a shame. I prefer my comedy broad and my farce light so I don't think it will work
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Post by theatrelover123 on Oct 4, 2019 18:31:49 GMT
^There may be the odd 18 or 19 year old cast in the shows mentioned...does that count? lol No, lol
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Post by theatrelover123 on Oct 4, 2019 18:26:52 GMT
^Yes, all shows that will appeal to a certain younger demographic...not fans of shows such as Showboat or Kismet for example.. Sure. Shows that have appeal to teens and others. But not teen shows.
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Post by theatrelover123 on Oct 4, 2019 17:59:42 GMT
^Nothing confirmed of course,but would imagine most of the following will come over eventually - The Prom,Head Over Heels,An Act Of God,Something Rotten,Lightning Thief,Spongebob,Hadestown,Anastasia and Beetlejuice.All have youth/young adults appeal according to my teen daughter.Not sure about the financial logistics of bringing over King Kong and Spider-Man:Turn Off The Dark? The sad thing is that new UK musicals are not out there,big style...looking forward to Boy In The Dress after listening to Rufus Hound bigging it up on Strictly Takes Two...but where are the rest? As for BMC,just booked it for Feb half-term but tickets are going like hot-cakes! Agree with danb about the obsessive frenzy that the fangirls/boys bring to shows like DEH etc...only ever felt that way about The Beatles...lol Oh OK. So not teen shows, as you mentioned. So not an invasion of specifically teen shows. Thanks
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Post by theatrelover123 on Oct 4, 2019 16:31:57 GMT
Hmm. Might be reading too much into that description, but 'Here's what she said to me' sounds like a female version of Barbershop Chronicles to me! It doesn't to me.
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Post by theatrelover123 on Oct 4, 2019 16:30:52 GMT
This is going to be a smash...is the world of MT about to be totally invaded by teen shows...look at the shows that are dying in the regions and then stuff like SIX...producers will follow the money...it’s an invasion...it’s like the war of the worlds all over again...lol...Mean Girls,DEH and countless others still to come...wow! Which other ones are on their way please? Can you count/list them?
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Post by theatrelover123 on Oct 4, 2019 16:23:55 GMT
Hang on - so Hugo Weaving isn't actually in this, live on stage? I'm sure the publicity sold it as that and made me almost book for it based on that. Phew
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Post by theatrelover123 on Oct 4, 2019 11:49:39 GMT
Maybe the Playhouse from March 2020?
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Post by theatrelover123 on Oct 2, 2019 22:41:33 GMT
Juggler Report: not a night to remember. In other news: can't add anything to the above . Returning next week - the second viewing is always so much more relaxed for me - and look forward to delving deeper. Found Bluebeard the more elusive. Those slips are killing me, though. Blimey. You're just wearing a slip when you go to the theatre?! Doesn't seem like suitable attire. Are you not cold?
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