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Post by Cardinal Pirelli on Oct 6, 2018 14:11:11 GMT
People are free to make vile comments if they want but none of the boo-hooing when they get called out on it, please. If people are going to give it out they’d better learn to soak it up in return. The term is ‘politeness’ anyway, something apparently with little value in the society of today. P.S. Is your avatar some sort of tribute? I didn’t actually make any vile comments, I didn’t mention any actors names and was simply sharing what a large group of my friends as the paying public commented on regarding sex appeal, weight and age. They are allowed that opinion. In short the showbiz industry is full of boxes and casting types and yes this show breaks that and turns it on it’s head. For many people in the audience that is a welcome thing just like normalising plus sizes are on UK high streets. To others it’s not acceptable culturally where they come from (a Broadway American cast would be very different for example) and that should be respected too. We are all different. Was the comment vile? I don’t think it was.... Ps aingidh above - if you’re amazingly talented and tall like Nick Greenshield then it wouldn’t matter you would be cast. If you are not an incredible performer and overweight then no, you won’t be playing the romantic lead role in my show. Nothing personal - that is casting. I wish people would accept that is the business. You could be the best looking person in the world but if you have crooked teeth you will not be cast. As I say, reporting others’ private comments in public is quite possibly worse than making them in private, given that they did so without the expectation of them being relayed to the rest of the world. Saying that Broadway is different and that people’s ‘culture’ should be respected is also not an argument, it’s craven and weak. This you say about a country that would not long ago have done the same about race and which now is engaged on a similar cultural trip to hell. As I say, not an argument, just an abdication of any sort of responsibility and amoral if not actively immoral. That isn’t what happens in this business, at least the majority of it that does actually have a spine.
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Post by Cardinal Pirelli on Oct 5, 2018 22:42:14 GMT
I see the denial fraternity are all here. There are people out there who have differing views on how parts should be cast and one of those measures is weight, or may be stature as height and build is a factor. Their view is equally valid and to deny their freedom to express it says more about the self-appointed guardians of political correctness. If it waddles like a duck....... People are free to make vile comments if they want but none of the boo-hooing when they get called out on it, please. If people are going to give it out they’d better learn to soak it up in return. The term is ‘politeness’ anyway, something apparently with little value in the society of today. P.S. Is your avatar some sort of tribute?
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Post by Cardinal Pirelli on Oct 5, 2018 18:28:20 GMT
Given their track record of importing small scale US productions wholesale, the St Ann’s Oklahoma (bluegrass band, a very dark take on the material) might be a good fit for a summer Menier Chocolate Factory show.
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Post by Cardinal Pirelli on Oct 5, 2018 17:36:46 GMT
As someone whose job frequently confronts me with the truth about eating disorders, body dysmorphia and so on, people who make these sort of public comments, whether inside the theatre business or out, are downright dangerous. I’m trying to come up with a less angry term than I might use and the nicest I can find is shallow, irredeemably shallow.
A bit of education looks to be necessary here.
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Post by Cardinal Pirelli on Oct 5, 2018 17:19:19 GMT
After Hamilton, I found this show to be a backwards step for musical theatre. Compared to something else like Fun Home, it’s all so generic, bland and not in control of its message and tone. I put it well behind Spring Awakening or even Heathers, for example. It never took off with my students, of the type who helped to make Hamilton into a phenomenon, either.
Above anything, I find it cynical and manipulative.
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Post by Cardinal Pirelli on Oct 4, 2018 9:48:16 GMT
After the Old Vic and All About Eve issues last week this was as easy as anything. Only one production I know but a small theatre and a box office draw in the lead could make it difficult.
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Post by Cardinal Pirelli on Oct 3, 2018 23:09:36 GMT
Even though I do know how bad they are likely to be and as much I'd rather see her in a classic role with an interesting director I will still try and see her in this instead of that's my only option. This just does not make any sense to me. Why go to something you are probably going to think is ’bad’? i liked Gross und Klein but it had a European sensibility that I can see may not translate.
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Post by Cardinal Pirelli on Oct 3, 2018 17:22:05 GMT
The way to do it badly is what the Royal Court did with The River, meaning that proximity to Sloane Square and a life of leisure was the way to get a ticket, cutting out pretty much anyone who has to sort accommodation and transport in advance and prioritising those not working who could get to the box office for that allocation. The tickets for "The river" were available online. I got one without being in London at the time. Tickets only went on sale on the day, so you had to live at least pretty close to London or not be working, so being able to travel at the drop of a hat.
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Post by Cardinal Pirelli on Oct 3, 2018 17:19:29 GMT
This is a Katie Mitchell production of a Martin Crimp play. why on earth are people suddenly falling over themselves to see it? Because they want to see a particular actor? That’s crazy. If you wouldn’t get anything out such a production (and I fall into the camp of being keen to see it if it was going to be acted by a bunch of nobodies) then why think that one actor will make you like it better? What will irk is anyone who gets tickets and then goes on about how difficult and pointless it all was and how they don’t see why it was such a big deal anyway. It’s Katie Mitchell and Martin Crmp, do your homework people! BEEP BEEP! Irk Alert! Oh that's definitely me. I just want to see Cate Blanchett. I don't mind admitting it. Ah, Ryan, you don't count as you see a lot of more experimental stuff anyway (especially with particular actors experimentally getting their kit off)!
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Post by Cardinal Pirelli on Oct 3, 2018 17:15:12 GMT
The way to do it badly is what the Royal Court did with The River, meaning that proximity to Sloane Square and a life of leisure was the way to get a ticket, cutting out pretty much anyone who has to sort accommodation and transport in advance and prioritising those not working who could get to the box office for that allocation.
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Post by Cardinal Pirelli on Oct 3, 2018 16:59:55 GMT
The idea of a ballot is the fairest way, of course, and I can’t see how anyone need compain about that.
However.
This is a Katie Mitchell production of a Martin Crimp play. why on earth are people suddenly falling over themselves to see it? Because they want to see a particular actor? That’s crazy. If you wouldn’t get anything out such a production (and I fall into the camp of being keen to see it if it was going to be acted by a bunch of nobodies) then why think that one actor will make you like it better?
What will irk is anyone who gets tickets and then goes on about how difficult and pointless it all was and how they don’t see why it was such a big deal anyway. It’s Katie Mitchell and Martin Crimp, do your homework people!
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Post by Cardinal Pirelli on Oct 3, 2018 11:38:47 GMT
A lot of interesting stuff there, although short on new plays outside the Dorfman (a common issue).
Does When We Have Sufficiently etc. really need a ballot? It's going to be relatively experimental and is on for quite a while. Will Cate Blanchett really sell it out? I'd be going for the writer and director, the actor isn't a factor as to whether it's 'for me' or not.
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Post by Cardinal Pirelli on Oct 2, 2018 17:41:21 GMT
Following on from the above, there are people who have latched onto things from their formative years as being essential to their identity. That weakness of personality expresses itself in outrage at anything that is seen to challenge that identity. Often the anger follows the result of changes in society being reflected in those things or even just the threat of change. So some films, books, TV etc. that do the same are not challenged whereas others becomes a massive issue.
Trolls are just quick is manipulating and using this sort of thing. Russia, of course, being the past master at it. Their interests lie in causing division and chaos, whether that be politically or culturally, so groups with a fragile sense of identity are gold dust to them.
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Post by Cardinal Pirelli on Oct 1, 2018 23:45:03 GMT
I’m pretty sure that the scenes we see are not in chronological order, so it’s very much a non linear structure.
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Post by Cardinal Pirelli on Sept 30, 2018 15:06:46 GMT
Wish I'd booked now. Comparing productions is always interesting and here you get to do it at the same performance.
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Post by Cardinal Pirelli on Sept 29, 2018 11:23:17 GMT
I tend to prefer seeing the NYT as they commission some excellent new work, a season of revivals is great practice for students though. The von Horvath would be the one I’d like most to see of these. Sadly a life cut short, he may have gone on to even greater things.
If you want to feel thoroughly dismayed and depressed, Cathy is inspired by Ken Loach’s Cathy Come Home. Powerful but don’t expect much light.
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Post by Cardinal Pirelli on Sept 28, 2018 20:34:18 GMT
Q35 is fine, I've sat there before. It depends a lot where the stage extends out to, but often the pillar does line up with the side of the stage, so you miss nothing at all. That's why it is far more expensive. I was left with P35, which I don’t know and, in the panic to finally achieve something after being ‘errored’ out twice, I didn’t have time to google it. It is worryingly red on your site though.
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Post by Cardinal Pirelli on Sept 28, 2018 13:36:00 GMT
Is P35 stalls okay monkey or anyone? The Q seats that I had the first two times were gone by the third time. It's slightly more (£30) so I presume there's less of a block?
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Post by Cardinal Pirelli on Sept 28, 2018 12:32:54 GMT
Let me get a ticket for one show and then kicked me out saying that there was an error whilst still letting me purchase the one already in my basket (which now turned up).
Now having to go to the back of the queue again to get the All My Sons ticket.
"There has been an error, and your queue number has been rejected. We have reported the issue, and apologize for any inconvenience. Unfortunately, you will need to click the button below to get a new place at the end of the queue."
Not exactly a stable system.
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Post by Cardinal Pirelli on Sept 28, 2018 12:18:00 GMT
Got on the site, put tickets in the basket and no way of actually seeing the basket, what the hell?!?
Now booted out again because I was trying to navigate around to see how the basket had disappeared.
Other browser coming up in a few minutes......
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Post by Cardinal Pirelli on Sept 27, 2018 19:54:05 GMT
There are other Churchill’s that are far more ripe for revival,. Cloud Nine or Vinegar Tom, for example, which both address questions of gender. Serious Money and Mad Forest would also be good to see again and the Royal Exchange Skriker showed that it stood up very well. Top Girls in some sort of reinvention then maybe as the play would benefit from that but much less so in a staging retread.
Thanks once more rosmersholm for your advance information.
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Post by Cardinal Pirelli on Sept 27, 2018 10:23:35 GMT
Finally got the ticket I wanted second time through. The last time I had this difficulty was also a show Gillian Anderson (Streetcar when it literally took all day to get a ticket), box offices take note if she is in your production!
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Post by Cardinal Pirelli on Sept 27, 2018 9:02:16 GMT
The page load time is currently longer than the time you are given to complete your purchase.
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Post by Cardinal Pirelli on Sept 27, 2018 8:36:25 GMT
The TodayTix selection isn’t great. Best to wait until 10am? Doesn't even allow me to book on the Todaytix page, just keeps saying there's an error.
Completely useless.
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Brexit
Sept 25, 2018 14:29:45 GMT
Post by Cardinal Pirelli on Sept 25, 2018 14:29:45 GMT
I also remember we had a large number of days off school as there wasn't enough fuel to heat the place. The way that daily life was upended because of that one, relatively small, industrial dispute only goes to raise my level of concern at something that is going to be far more wide ranging in its effect.
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Brexit
Sept 25, 2018 11:27:43 GMT
Post by Cardinal Pirelli on Sept 25, 2018 11:27:43 GMT
Ah yes, power cuts and having to cook on a calor gas stove and eat by candlelight (parents cooking, thankfully). Was it avoidable? Maybe, but the economics of the era held sway. You aren't going to find much logic in politics where 'sending a message' is seen as much more important.
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Post by Cardinal Pirelli on Sept 24, 2018 17:58:01 GMT
You can’t argue against an opinion, it’s an opinion and therefore it has its own validity. You can agree or disagree or something in between but not argue against it.
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Post by Cardinal Pirelli on Sept 23, 2018 23:20:07 GMT
Again, pure speculation (which would seem to be ‘quite harmful to people’s careers’). That also sounds like projection from previous experience to me, seeing as we are on the subject of pure speculation. It is. I've worked with lots of directors who've over-ran, and the knock on effect has meant everyone else had less time. What's your point Cardinal Pirelli? Your confirmation of my suspicion pretty much makes the point for me.
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Post by Cardinal Pirelli on Sept 23, 2018 20:50:36 GMT
Again, pure speculation (which would seem to be ‘quite harmful to people’s careers’).
That also sounds like projection from previous experience to me, seeing as we are on the subject of pure speculation.
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Post by Cardinal Pirelli on Sept 23, 2018 17:46:24 GMT
I was also at the matinee and thought the same about the large number of younger children. Don't these parents read?!?
Anyway, apart from worrying a bit about how they'd take it I thought this was great. My dancing days may well be behind me but, seeing an embarrassing amount of me in the Dance teacher and having worked many times with performers of the age portrayed, I thought it captured the whole milieu wonderfully. Two contemporary American plays that I liked in the same year, it's a miracle!
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