The Theatre Question Amnesty Thread

I've never been kicked out of a closing theatre bar, as a non-drinker I don't go in them, but I was so late out of the auditorium of my local theatre last month that I had to leave by the stage door because all the other doors were locked up! There was a post-show Q&A and afterwards one of the cast, recognising me in the audience, came down from the stage to say hello. By the time he, I & another fan had finished chatting all the rest of the audience had left.

I don't know but I'd like to hazard a guess before someone gives an authoritative answer.

I expect that "in association with" can mean quite different things in different cases. In this instance, was it that SFP had originally developed the project, and perhaps had also commissioned Patrick Marber, and then granted the NT the right to produce the play whilst maybe retaining a degree of creative producer input in the eventual NT production? And, despite not actually co-producing the NT production, did SFP also have certain rights over any future commercial exploitation of it or other later productions after the NT run?

Or not?

It was brought up in the Wonderland thread, but I am generally curious so any promotions people out there, help me out... if you are including quotes from press, do you legally have to include where the quote came from and who wrote it? Because the Wonderland trailer included many quotes, including ones specific to the leads, but never included any credit to the publication or writers of the quotes so now im confused?

Caveat Emptor.

You can't misattribute quotes or use a person's name connected to a quote without agreement (with a newspaper review there is already a tacit understanding) but putting quotation marks around words isn't strictly breaking regulations. It puts you into the same category as fake news though and, as we know, people will believe the biggest rubbish if it they emotionally 'believe' it. Germany, at least, is introducing legislation to make fake news illegal. 

Buyer beware.

Why today especially? :confused:

Ah, got it, I hadn't even registered that it was Easter Sunday!

Regarding poster quotes, I'm always amused by the fact that the quote used on most posters for Dirty Dancing is "The biggest live theatre sensation of all time" - The Observer

For instance - 



Which is a genuine quote, but it's taken out of context as it's not from a review of the show, it's from an article about ticket sales before the show opened.


www.theguardian.com/stage/2006/sep/10/theatre.westend

The full quote is - 


They've been using this quote for over 10 years! 

Thanks for the explaination, I assume with Oslo which is being produced by the National in association with ATG, it's because ATG have a relationship with the Lincoln Center and Bartlett Sher and they're put up some of the costs for both the run at the National and the transfer to the Harold Pinter. 

Picture the scene:

It's January 2nd or 3rd 2004 and I have spent the new year with family in Derbyshire. As ever I am not looking forward to the drive back to Surrey on the M1 but I am in a very good mood; I have pre - booked to see 'The Pillowman' with Jim Broadbent and David Tennant at the Cottesloe, it has received rave reviews and I'm really looking forward to it.
The journey starts well but rapidly deteriorates and I have very little time to get to the theatre. I park up and run to the theatre and arrive literally 3 minutes before the start.
Phew...
But something is not quite right -
One of the ushers tells me the performance has been cancelled, full refunds, copious apologies and even three tickets for a free drinks at the bar.
The official reason for the cancellation?
'David Tennant is ill and the Cottesloe has a policy of no understudies.'

So my question - is this still the case in the Dorfman?

Only about a year later in a forgettable play set in a pub a similar thing happened. No cancellation this time but there was no proper understudy for a major character and an actor who just happened to be in the building read it from a script.

I have seen most productions at the Cottesloe/Dorfman in the last 20 years and no one has been ill to test the 'policy' further.
I also realise the Olivier and Lyttelton always have understudies.

ps. I got tickets later in the run and saw 'The Pillowman' (with David Tennant) and thought it excellent.

The Globe/SWP didn't or don't have understudies specifically for any roles but they get either a company member or some to read the part. I saw it twice. I forgot the actors name. It was in Richard II he was ill so one of the others read the part. He had the script in his hand but he knew most of it off my heart. Which concidering it was Shakespeare was impressive.

Then I saw in As You Like It Gary Shelford had injured himself so he couldn't do a certain scene. They had 2 ensemble members. One of which had to learn that bit for the play. I guess thats why they started getting ensemble so if someone was ill injured they could cover but not a specified understudy.

I can understand small venues not having understudies but places like Royal Court etc suprises me. I wonder why uf not understudies they don't just do what the Globe does.

I believe the Globe now has understudies

I once drove to Bath for 'Look Back in Anger' (a production funny enough Tennant had left not long before) to find it cancelled due to no understudies. This was a good decade or more ago before faster twitter/email alerts. But to say I was irritated I'd done battle with Bath Saturday traffic (and had to drive back again later that week to see it) was an understatement.

The Globe had someone read in for Colin Morgan during The Tempest if I recall. Sure that went down a storm (pardon the pun) with the fangirls!