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Post by popcultureboy on Dec 7, 2023 15:09:50 GMT
This absolutely didn’t happen. Ummm. Yeah it did. I know. I was there. So was I. It didn’t.
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Post by popcultureboy on Dec 7, 2023 13:50:15 GMT
Was anyone at MR on Tuesday? A guy two rows in front of me had a heart attack right in the middle of the show and the ushers did nothing about it. It was awful. They just stared at the guy! A friend of mine who is CPR trained jumped in and began performing it until someone jumped in. It really made me think about how poorly ushers in the west end are trained. Scary. This absolutely didn’t happen.
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Post by popcultureboy on Mar 8, 2020 9:13:16 GMT
I saw the 2008-2009 revival of this at Studio 54 which cut the character of Melba Snyder and her number "Zip!" was reassigned to Gladys Bumps. Martha Plimpton was, if I recall correctly, excellent.
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Post by popcultureboy on Mar 4, 2020 8:05:40 GMT
Also, her designs for both plays are VERY similar, so it seems especially odd. Almost like giving separate acting nominations to Kyle Soller for parts 1 and 2 of The Inheritance. It's also baffling that her incredible design for Night of the Iguana was overlooked.
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Post by popcultureboy on Mar 4, 2020 8:03:56 GMT
The Jungle at the Playhouse had a similar staging, so could go in there after all the Jamie Lloyd plays finish. or any other medium sized theatre willing to rip its seats out. Playhouse has Good directly after the Jamie Lloyd plays, which takes them to the end of 2020. Somewhere like the Trafalgar Studios would work That's actually a really good shout. Trafalgar 1 currently doesn't have anything on sale past On Blueberry Hill and a similar staging would be possible in that space.
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Post by popcultureboy on Mar 3, 2020 23:24:11 GMT
The nominations are all a bit out of whack. Giving Rae Smith 50% of the available nominations for design rather than combining her nominations into one for both shows just shut out another designer, surely?
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Post by popcultureboy on Mar 3, 2020 23:21:39 GMT
👍. I bought one for me.. I did't find any restrictions About it's only UK so i guess international People under 30s can buy this🤞 And for 2 Ticket You need show 2 ID right The buyer named on the ticket will need to show valid ID when they collect yes. It's in the T&Cs. :-)
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Post by popcultureboy on Mar 2, 2020 23:02:18 GMT
Rafe Spall at today's platform said there were talks to bring this to the West End. Putting this into a West End venue would be a challenge on many levels. First one being there are barely any available.
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Post by popcultureboy on Mar 2, 2020 23:00:40 GMT
At day of performance have 29 year and 8 month, but in past at bookoffice((at my home town) were looking at the year = 30 already If, on the day you see The Doctor at the Duke of York's, you are 29 years old and 8 months, you are entitled to an under 30's ticket.
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Post by popcultureboy on Feb 29, 2020 8:14:26 GMT
Not sure about some of McPherson's additions particularly the soliloques Are those a McPherson addition? I remember Robert Icke had them too in his 3 and a half hour version at the Almeida a couple of years ago.
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Post by popcultureboy on Feb 29, 2020 8:12:35 GMT
Am I odd in enjoying the book of "Doctor Sleep" far more than the original "The Shining"? No not at all. The Shining is VERY early King (like 2nd or 3rd book i think?) and you can really tell his writing was still a little rough around the edges back then. As for this, thanks but no thanks. After All About Eve, I swore off Ivo Van Hove forever more. A director who, to me, consistently doesn't understand the source material he's adapting and directing.
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Post by popcultureboy on Feb 29, 2020 8:08:16 GMT
Also- why do you all think the boxes aren't on sale? I was temted to go for one of the cheap seats in upper circle but I wonder if it is worth waiting for the Today Tix offers instead to get a better seat in the stalls for just a few pounds more... The boxes will always be off sale until the show actually arrives at the venue. This is to ensure that the sightlines from them are decent enough to actually sell, but also to make sure the boxes aren't filled with lights or any other equipment that would render them unusable.
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Post by popcultureboy on Feb 22, 2020 10:18:02 GMT
It's taken many years, many rewrites, and many productions for both parts of Angels in America to be pretty reliable crowds pleasers I dunno, Perestroika is still too long and incoherent, or was in the NT revival.
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Post by popcultureboy on Feb 19, 2020 8:17:12 GMT
I have to sit in stalls for access reasons Can you not register for the ENO access scheme and get tickets at half price, if this is the case?
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Post by popcultureboy on Feb 18, 2020 10:08:27 GMT
Jennifer Saunders rules the stage and there is a slight vacuum when she is off stage but enjoyable nonetheless and special mention must be made of Rose Wardlaw as the maid whose comedic flair adds to any scene she is in. Rose Wardlaw following in the footsteps of Patsy Ferran, who stole the Lansbury production out from under everybody in that same role.
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Post by popcultureboy on Feb 16, 2020 0:37:58 GMT
Off yesterday. Off today. NT refusing to give info as to who will play it this morning. Also saying no to both exchanges (I’ve never heard of this before) or refunds. Cary Crankson stepping in and added to the website. Imagine the no to exchanges was due to the run being sold out so they don't have anything to exchange people to. And if you start giving refunds for one person, you have to do it for everyone. And it likely would be everyone. Rafe was back on this evening and judging from how scratchy and hoarse he was, it's clear whatever he got ill with affected his voice and he could do one show but not two. For being still under the weather, he didn't dial down his performance one iota. An absolute frenetic masterclass in a play which is not a masterpiece. A confused midsection lets it down.
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Post by popcultureboy on Feb 11, 2020 23:45:35 GMT
Which was its last London outing? The Michael Grandage production at the Donmar about 20 years ago was deservedly very well-received. The reviews I managed to find of it online were not particularly glowing. There may well have been others which raved, I just didn't happen to find them.
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Post by popcultureboy on Feb 11, 2020 8:10:48 GMT
This is a bold choice. Yes, Tennant sells tickets, but this is a play which was not well received in its last London outing, nor in its cinematic version starring Viggo Mortensen. And the parallels to modern day are already being drawn by many of us, do we really want to pay to sit through a play which spells out the doom and gloom we're already well aware of?
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Post by popcultureboy on Jan 26, 2020 23:23:07 GMT
That makes total sense, it's really not a Wednesday at 2:30pm kind of a show.
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Post by popcultureboy on Jan 24, 2020 8:39:55 GMT
Because when you charge the same price for a monologue show as for a show with a much bigger cast then it seems odd. Also personally I think that just because something has always been done in a particular way it isn't a justification for that continuing in perpetuity. To me this looks like an example of the current West End pricing strategy of going in with a very high price to try to get a few people to pay that but with every intention of heavily discounting later, it is a somewhat dubious practice because I think with a lower starting price they might sell more overall. And yet I don't recall a show ever being priced according to its cast, production values or running time. Here we have a hugely acclaimed hour long monologue getting a month long west end run at significantly lower than usual prices for a west end show, yet all we can do on this board is moan? The 2 hander Kunene & The King is on before this, is 96 minutes long and has tickets ranging up to almost double what Baby Reindeer is charging for a basic top price ticket. If you're going to start grading on a curve, you can't start here.
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Post by popcultureboy on Jan 23, 2020 10:03:24 GMT
Just had a look and Women in Black best tickets are only £5 more expensive and u get at least double the cast, double the length and some nice effects chucked in (alas no tap number thou) it's also been running for over 30 years and recouped probably 30 years ago. Whereas this show is brand new and running in the West End for a month. The £50 top price at Baby Reindeer is a tiny handful of seats which come with a drink included. Regular top price, no added extra is £45 and I don't see any premium seats for it anywhere. Woman in Black has a top price of £57.50 and premium seats at £72.50. A more direct objection to the price is that it's £50 for a one-man show. Again, it's £45 top price for a seat with no added extras and also, what does it matter that it's a one man show? Shirley Valentine, Cocktail Sticks, Fleabag, Via Dolorosa, Ian McKellen On Stage, The Year of Magical Thinking and so on and so on. The west end has a long history of charging the same price for monologue shows as it does for other plays, so why are we whining that this show comes along and charges less?
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Post by popcultureboy on Jan 22, 2020 22:53:19 GMT
Pricing has been kept reasonable for this - top price £50, seats at the back of the stalls for £15. The play is only an hour long thou so pretty expensive! We keep equating quality with quantity. I have paid £50 for some lavishly produced, hugely cast and very long shows which have made me want to gouge my eyes out. I don't remember anyone whinging about the running time of Constellations vs the pricing, nor for the current mega smash of Six. If this play is as incredible as I'm hearing it is, then £50 is FINE.
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Post by popcultureboy on Dec 24, 2019 8:23:25 GMT
These 'cats' look slightly (like VERY slightly) different to the way they have always looked since the musical debuted nearly 40 years ago. In fact from a distance they look EXACTLY the same. It has been filmed with them looking the same way a gazillion times on tv adverts, tv performances and even entire film versions of the stage play for 4 decades and yet everyone is acting like they have never seen anything like it before. Um, no. If memory (ha, see what I did there) serves, the costumes were VERY OBVIOUSLY costumes, especially Grizabella, so it was possible for a "I get these are humans playing at being Cats" disconnect. It was inherently massively theatrical. Gigantic set, bonkers costumes. The cats in the movie look nothing like this at all. They look like CGI horror shows. And you can't see them "from a distance" as they're constantly shoved in your face by the terrible editing.
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Post by popcultureboy on Dec 16, 2019 8:23:18 GMT
Running time of 100 mins from the programming info I got about 4 weeks ago. But who knows what's happened since b Cineworld gives the running time as 109 minutes.
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Post by popcultureboy on Dec 15, 2019 8:27:23 GMT
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Post by popcultureboy on Dec 4, 2019 8:11:12 GMT
Odd that The Bridge have announced shows well into 2021 but still have a gap from March to July 2020.
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Post by popcultureboy on Nov 14, 2019 8:14:20 GMT
We had a false evacuation before Act 2 started and part of me was thrilled to be able to escape but depressed at the thought of having to return to see the entire show again! Why didn't you just not return after the evacuation if you were having such an unenjoyable time?
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Post by popcultureboy on Nov 10, 2019 10:37:34 GMT
Does anyone know what Marianne Elliott's plans are for the next few months? Is she down to direct anything? I presume she'll help this onto Broadway, but I'm surprised I've not seen her name down for anything next year. I'm longing to see what she does next. Her production company are involved with The Lion, The Witch & The Wardrobe, she's then repeating her work on Company on Broadway in early 2020. If this production does go to Broadway, it will be the 2020-2021 season, as Sharon D Clarke is repeating her role as Caroline at the same time Company is opening.
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Post by popcultureboy on Nov 8, 2019 22:38:02 GMT
I agree with what you say about how time is perceived but that is not shown by the staging of this version. I haven’t read the text or seen it before so if it is true that this is what the author was aiming to show, this production didn’t achieve that very well. Is it in the stage directions? The programme? An interview with the writer? It’s a nice idea but I don’t think it’s fully realised here. It is entirely in how it's structured and written. I haven't read or seen it before either, and yet I absolutely understood the conceit of time condensing here. So while for you, this production didn't achieve it very well, for me, this production absolutely nailed it.
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Post by popcultureboy on Nov 8, 2019 8:35:10 GMT
he environmental message was shoehorned in and the ending felt like it could have been from a different play. The sudden condensing of time felt out of whack with the rest of the play. But time is being condensed the whole way through the play, with it speeding up/condensing more as it goes on, which is reflective of how we experience time in real life. Also, frankly, the actors were too old for most of the first hour, and for me it worked noticeably better when I felt they had reached the "early mature" phase matching their own more closely. First performed in 2011 with Kate O'Flynn in the W role, and so surely the argument there would be she was too young for the latter 30 minutes? Given the span of the play, suspension of disbelief over the age of the performers will be necessary for some of it, regardless.
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