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Post by theatrelover123 on Sept 19, 2018 12:50:18 GMT
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Post by theatrelover123 on Sept 19, 2018 8:58:29 GMT
Saw this last night, didn’t really know what to expect going in but found myself pleasantly surprised. It’s a very intimate setting and that seems to work really well for the play, monologues don’t really work for me in large settings and the size of the space and the number of people here just right. Although I tend to prefer more realisitc plays, I don’t really go for stuff with subject matters such as this one often, I enjoyed it. Brendan Coyle is a great storyteller, I was able to easily imagine everything that he was describing, and the writing helps that as well. I was lucky to get tickets through the ballot, and I don’t think many who go will be disappointed. Also overheard before we went in that this might be transferring over the pond after Dublin, don’t know how likely that is but it’s a good production so it wouldn’t entirely shock me. www.dublintheatrefestival.com/Online/St_Nicholas_2018
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Post by theatrelover123 on Sept 18, 2018 11:59:30 GMT
The role of Arthur will be played by Olivier Award-winner David Thaxton (Passion, Les Misérables, Jesus Christ Superstar), Guenevere will be played by Savannah Stevenson (Wicked, Aspects of Love, Follies), and Lancelot will be played by internationally renowned opera star Charles Rice (Mozart’s Requiem, The Barber of Seville, Candide).
Sam Swann (Jekyll & Hyde) will play Mordred, Clive Carter (Mamma Mia: Here We Go Again) will play both roles of Pellinore and Merlyn, Nimue will be played by Celinde Schoenmaker (Barnum, The Phantom of the Opera), Matthew McKenna (Sunset Boulevard, Starlight Express) will play Sir Dinadan, Sir Lionel will be played by Emmanuel Kojo (Girl From the North Country, Show Boat), Sir Sagramore will be played by Oliver Savile (Wicked, LMTO’s State Fair) and Raphael Higgins-Humes (Lion King, Matilda The Musical) will play Tom of Warwick. The LMTO Chorus includes: Jake Byrom, Elissa Churchill, Charlotte Clitherow, Ed Court, Emma Fraser, Lee van Geelen, Erin Hair, Daniel Hall, Adam Hepworth, Matthew McDonald, Emma Oliver, Cameron Potts, Lydia Shaw, Rosie Williamson, Lizzie Wofford and Thomas Wright. The London Musical Theatre Orchestra is conducted by founder Freddie Tapner, who said: “I’m extraordinarily excited to have this sensational cast join LMTO at the London Palladium for Camelot, led by Olivier Award-winner David Thaxton and Savannah Stevenson. I’m particularly thrilled to introduce opera star, Charles Rice, to musical theatre fans – I know you’ll fall in love with his voice, just as we did at LMTO HQ when we found him. Camelot hasn’t been seen in the West End for 30 years, and we can’t wait to share this glorious score with you on Saturday 6th October.”
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Post by theatrelover123 on Sept 13, 2018 23:44:54 GMT
Ahhh good for Charlie. It will be a real stretch and such a different role from Arthur Kipps
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Post by theatrelover123 on Sept 13, 2018 7:45:36 GMT
I liked the show for what it was but I am astonished that they can announce a cast in the West End like that in this day and age and expect it to sell well. What a crying shame as it’s entertaining with the right cast (who absolutely don’t need to be ‘names’ - if you can call any of them that of course). Natalie excepted - she has a strong proven track record.
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Post by theatrelover123 on Sept 10, 2018 7:47:44 GMT
I was annoyed afterwards and have thought about complaining but I only paid £10 for the ticket and they were quite explicit constantly that it's a preview and a work in progress and that we should be grateful to see it at that 'exciting stage'. So it felt a little churlish to complain.
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Post by theatrelover123 on Sept 9, 2018 20:33:34 GMT
Unless the last scene is Emily Davison being tramped by a hologramatic horse, they better have something good up their sleeves! You see Davidson and the horse incident and I thought it was done pretty badly tbh. Kate said that they couldn’t do the last section as there were lots of boxes that needed pushing around. Which is surprising considering very few things were actually moved in the 2 hours previously. So my feeling is that it’s a lie. There is no reason why they couldn’t have stood on the stage and sung it. The cast were more than happy to come back on and jump around and sing. I also reckon that the audience in the previews (or at least on ‘the first preview’ on Thursday matinee) were mainly friends and family of the cast because I genuinely don’t believe the show deserved the ridiculous level of applause and standing ovation at the end. Sure, they worked hard amidst a few setbacks but they acted like they had all been through serious life altering dramas from the way they gushed.
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Post by theatrelover123 on Sept 2, 2018 19:02:27 GMT
But isn't it interesting that the play has actually led to a discussion about serious current issues such as the shortage of affordable housing? No
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Post by theatrelover123 on Sept 2, 2018 16:35:30 GMT
And Tamsin Grief funnily throwing lots of yellow flowers in a fit of pique.
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Post by theatrelover123 on Sept 2, 2018 16:32:44 GMT
I'm pleased to hear that you are concerned about people who perhaps have less than you and can only afford high street sh*t or have to rent a property because they are priced out of the market so that they aren't able to buy so I'd be interested to hear what you are doing about that concern P? Are you perhaps campaigning for more affordable housing or to force everyone to pay the national living wage? Are you the bane of your MPs life? Supply-side only policies for affordable housing in London will not work. You need to address the demand side too. Cheap one-bedroom new build flats where I live are predominantly bought by foreign buyers off-plan to rent - if you build more they’ll buy more. Also if you make more cheap housing available in London then more people will move to live here, both from elsewhere in the UK and from overseas, thus quickly returning to the original problem. Blimey. Let’s all just keep it light, shall we? Can’t we just go back to talking about jazz hands, tits and teeth and glitz?
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Post by theatrelover123 on Aug 22, 2018 8:32:31 GMT
Will never happen now. Broadway have done so much to advance the art form in the past 30 years whereas the West End have barely lifted a finger in comparison. Everybody's Talking About Jamie is seemingly the best we can do these days. Good, but hardly innovative at this point. As ALW has said many times, there are too many factors conspiring against new musical writing in the UK - well, developing and getting it put in London and being able to survive market forces and economics. Or maybe he just shouldn't write such terrible shows such as Stephen Ward and then blame other things
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Post by theatrelover123 on Aug 21, 2018 7:27:53 GMT
Lenny Henry mentioned recently that he is working on something with Ben Power at the NT.
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Post by theatrelover123 on Aug 20, 2018 17:43:07 GMT
Full cast:
Jasper Britton previously appeared at the Menier in Little Shop of Horrors. His theatre work includes Jerusalem (The Watermill Theatre), The Libertine (Theatre Royal Bath and Theatre Royal Haymarket), Richard II, Henry IV, The Jew of Malta, Marat/Sade (RSC), Race, Private Lives (Hampstead Theatre) & The Last Cigarette (Chichester Festival Theatre and West End).
Sia Dauda is making her London debut. Her theatre work includes Flashdance (UK tour). Alasdair Harvey previously appeared at the Menier in Forbidden Broadway and Sunday in the Park with George (also Wyndham’s Theatre). His other theatre work includes Mamma Mia! (Novello Theatre), We Will Rock You (Dominion Theatre) & Come Dancing (Theatre Royal Stratford East). Chris Larkin's theatre credits include Again (Trafalgar Studios), Stevie (Chichester Festival Theatre, Hampstead Theatre), Noises Off (The Old Vic), Yes, Prime Minister (Apollo Theatre), The Whisky Taster (Bush Theatre), The Lady from Dubuque (Haymarket Theatre), His Dark Materials (National Theatre), When We Are Married (Chichester Festival Theatre & Savoy Theatre). Macy Nyman's theatre work includes The Stepmother (Minerva Theatre) & Posh (Pleasance Theatre).
Tracy-Ann Oberman's theatre work includes Present Laughter, Fiddler on the Roof (Chichester Festival Theatre), Stepping Out (Vaudeville Theatre and UK tour), McQueen (Theatre Royal Haymarket Theatre), Earthquakes in London (National Theatre and UK tour) & Boeing Boeing (Comedy Theatre). Natalie Walter previously appeared at the Menier in Smash. For theatre her work includes Jerusalem (The Watermill Theatre), A Little Hotel on the Side (Theatre Royal Bath), Lingua Franca (Finborough Theatre), Hay Fever (Chichester Festival Theatre), A Midsummer Night’s Dream, Love’s Labour’s Lost (RSC), Whipping It Up (UK tour), Habeas Corpus (Donmar Warehouse) and Piano/Forte (Royal Court Theatre). Finty Williams' theatre work includes The Divide (The Old Vic), Blithe Spirit (The Mill at Sonning), Dinner with Friends (Park Theatre), The Vote (Donmar Warehouse – also More4), The Armour (Defibrillator Theatre), The Lightning Child, Macbeth, Bedlam (Shakespeare’s Globe), Luise Miller (Donmar Warehouse) and Twelfth Night (National Theatre).
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Post by theatrelover123 on Aug 20, 2018 13:11:31 GMT
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Post by theatrelover123 on Aug 20, 2018 13:08:48 GMT
16th October - 24th November A tender and bittersweet play about conscience and connection. Teddy is searching for a friend for the night. Jeremy is searching for a beer. Worlds apart and miles away from home, two strangers, consumed by their own secrets, find each other in a hotel room in Amsterdam. Can you confess your greatest fear to a stranger? A new play by the award-winning American writer Ken Urban, A Guide for the Homesick is an erotic thriller that explores the cost of being a friend when you are afraid to love, starring Douglas Booth as Jeremy and Clifford Samuel as Teddy. Directed by Jonathan O’Boyle. ‘A probing, multi-layered study of guilt.’ Boston Globe www.atgtickets.com/shows/a-guide-for-the-homesick/trafalgar-studios
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Post by theatrelover123 on Aug 19, 2018 14:12:30 GMT
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Post by theatrelover123 on Aug 11, 2018 9:07:55 GMT
Thanks for clarifying
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Post by theatrelover123 on Aug 10, 2018 21:08:17 GMT
I could be wrong (but I don’t think so as I was pulled up on it about a year ago) but I didn’t think board members were allowed under board rules to promote shows they are involved with. I always thought that rule was in place because otherwise I am sure people would be talking about productions they are doing all the time. But maybe I’m wrong. That’s not to say that I don’t wish you well with the show though
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Post by theatrelover123 on Aug 8, 2018 10:24:54 GMT
Got my email about an hour ago and have now booked for 18th September. Yay
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Post by theatrelover123 on Aug 7, 2018 14:57:32 GMT
How and when are they telling people? Just emails?
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Post by theatrelover123 on Aug 3, 2018 13:45:52 GMT
I always get a little excited when the Menier announce their shows and then I remember the crazy prices for their shows and realise that I don't want to see them enough ;(
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Post by theatrelover123 on Aug 3, 2018 9:16:41 GMT
I wonder if anybody else had to audition for it. The producers and marketing team must have just snapped her up immediately to get the promotion
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Post by theatrelover123 on Aug 1, 2018 13:41:37 GMT
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Post by theatrelover123 on Jul 31, 2018 12:17:51 GMT
Finn Bennett, Tom Mothersdale and Lesley Sharp have been cast in Robert Alan Evans' The Woods, directed by Royal Court Associate Director Lucy Morrison.
Finn Bennett makes his Royal Court and professional stage debut with The Woods. His screen credits include Kiri; Top Boy; Cider With Rosie.
Tom Mothersdale makes his Royal Court debut with The Woods. His other credits include John, Cleansed (National); Oil (Almeida).
Lesley Sharp's previous credits at the Royal Court include Ingredient X, Top Girls (& UK tour). Her other credits include The Seagull (Lyric, Hammersmith); A Taste of Honey (National); Three Girls; Scott & Bailey.
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Post by theatrelover123 on Jul 27, 2018 17:58:08 GMT
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