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Post by Deleted on Oct 23, 2017 8:02:23 GMT
Is it really that good of a play? As Theatremonkey said above, in the scheme of things, against a lot of other plays...probably not. If you're a Potter fan, probably yes, just in the sense of being able to 'experience' it. Even for the most casual fan it's a great 'bookend' to things, and it's a genuinely fun piece of theatre as well. I'd put it into a category of 'Well worth seeing' and what I'd call 'Must see (eventually)' as in there's no rush to see it as it'll run for ages, but it's for sure one to tick off a list. |
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Post by Deleted on Oct 23, 2017 13:06:47 GMT
Is it really that good of a play? Personally for me no its not, its just a touch above fan fiction in terms of story. if this were to be staged minimally at the menier its faults would stand out. however its a brilliant production of an average at best play. it gives people the chance to experience the potter world and its magic in a whole new way |
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Post by Kenneth_C on Oct 23, 2017 17:38:39 GMT
Is it really that good of a play? NO. Instead of being "well worth seeing", I'd rate it was "well worth avoiding, saving your time & money, and seeing at least 2 other things". I was so excited to see it and haunted the website for weeks in order to grab tickets for my London visit. But I ended up hating it. And I say this all as a Potter fan. In fact, I can't figure out why Potter fans like it, as it distorts numerous characters and violates established pieces of Potter lore. (I am even more surprised that J.K. Rowling signed off on some of this stuff.) It's exceedingly poor fan fic, overly long and ultimately pointless -- but gussied up with theatrical effects and magic tricks. |
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Post by theatremadness on Oct 23, 2017 20:09:30 GMT
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Post by Deleted on Oct 24, 2017 8:27:26 GMT
Is it really that good of a play? As a play, no. As a spectacle, yes. Part 1 isn't too bad in terms of plot and script, but Part 2 descends into fanfiction that is so bad I'm surprised JK Rowling agreed to it (or wrote it, if any of it was her idea). There are a few clever bits but overall the plot does bring Part 2 down considerably. Still well worth seeing once though, the special effects are really good and some of the characters are spot on. |
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Post by musicalmarge on Oct 24, 2017 12:32:11 GMT
Guys please. The play is great and as a spectacle it is sensational. It will run on the West End and Broadway for decades.
On the Ozzie note, I wonder how long it will run in Melbourne for? Does the theatre have long runners on it? Could the Oz theatre scene cope with having one theatre out of action for years?
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Post by Jon on Oct 24, 2017 14:33:03 GMT
Guys please. The play is great and as a spectacle it is sensational. It will run on the West End and Broadway for decades. On the Ozzie note, I wonder how long it will run in Melbourne for? Does the theatre have long runners on it? Could the Oz theatre scene cope with having one theatre out of action for years? Australia tends not to have long runners, I would say it’ll run for 18 months to 2 years then move to Sydney |
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Post by Kenneth_C on Oct 24, 2017 14:41:03 GMT
Guys please. The play is great and as a spectacle it is sensational. It will run on the West End and Broadway for decades. No, Cursed Child is not great. Sorry. I also wasn't aware that length of run was a measure of quality. I guess that means The Mousetrap is the greatest play ever written. |
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Post by musicalmarge on Oct 25, 2017 6:58:59 GMT
I wonder if the accents will be Ozzy or English?
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Post by tommygnosis on Oct 25, 2017 10:05:04 GMT
I wonder if the accents will be Ozzy or English? I mean I would say they will be British accents, given the characters are meant to be British. |
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Post by Jon on Oct 25, 2017 13:04:13 GMT
I wonder how long it will last down under? It wouldn’t surprise me if it runs for a few years then uses the sets for an international tour, but it could be a pull for tourists on that side of the world if it remains in one place. My guess is that it’ll do Melbourne for 1-2 years then move to Sydney for another 1-2 years. Even the biggest musicals don’t remain in one place for years on end because the market can’t sustain it in one city The Princess Theatre is similar in size to the Palace so I imagine that’s why they chose it for Cursed Child. |
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Post by Deleted on Dec 24, 2017 6:24:42 GMT
I got a new job so no trip for me . All well I am off the disability pension well hopefully will be. So I am my own man
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Post by Deleted on Feb 14, 2018 11:02:26 GMT
How long will the Olivier Award actors be in the play?
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Post by daniel on Mar 16, 2018 23:24:26 GMT
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Post by Deleted on Mar 17, 2018 10:01:37 GMT
I doubt the OBC will come to Melbourne. So I am going to broadway. Because I can
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Post by musicalmarge on Mar 22, 2018 10:06:22 GMT
I wonder when or if the West End or Broadway show will ever close?
Would love to take bets - 2037? 2025? 2050? Never?! Ha....
Mark Shenton from the stage famously said it will never close in his lifetime. Remarkable!
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Post by Deleted on Mar 22, 2018 10:16:22 GMT
It'll go. Blood Brothers went. Cats went. I think The Mousetrap is too permanent a fixture to go anywhere, and I don't see Les Mis or Phantom closing while the other is open, but all other shows are up for grabs and Cursed Child will go eventually. (That said, Mark Shenton is at least two decades older than I am, and I believe I am in significantly ruder health, so while I believe I'll see the closure in my lifetime, it could still equally be true that Shenton won't see the closure in his lifetime. So there, I'm giving it another two-to-four decades, but not indefinitely.)
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Post by tommy123 on Mar 24, 2018 21:54:29 GMT
So following Broadway and Melbourne where do we reckon this will head next? Do we think it’s possible to tour as I know with big shows they like to get a US tour out!
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Post by couldileaveyou on Mar 24, 2018 22:34:12 GMT
What about Las Vegas? Some musicals had a very healthy run there.
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Post by daniel on Mar 24, 2018 22:44:59 GMT
So following Broadway and Melbourne where do we reckon this will head next? Do we think it’s possible to tour as I know with big shows they like to get a US tour out! the problem with touring Cursed Child is the reliance on trapdoors, revolve and various bits needing to come up through the floor. Touring theatres don't tend to want their stage chopped up, and venues have a huge variety of sub-stage space, so it would take some serious planning to determine which venues could physically and technically take the show, and then it would have to play a long enough run to justify the cost of putting holes in the stage. The other option of course would be to tour a pop-up venue. No easy feat in itself, but would certainly give a greater level of flexibility. |
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Post by Jon on Mar 24, 2018 23:48:07 GMT
So following Broadway and Melbourne where do we reckon this will head next? Do we think it’s possible to tour as I know with big shows they like to get a US tour out! the problem with touring Cursed Child is the reliance on trapdoors, revolve and various bits needing to come up through the floor. Touring theatres don't tend to want their stage chopped up, and venues have a huge variety of sub-stage space, so it would take some serious planning to determine which venues could physically and technically take the show, and then it would have to play a long enough run to justify the cost of putting holes in the stage. The other option of course would be to tour a pop-up venue. No easy feat in itself, but would certainly give a greater level of flexibility. I wouldn't be surprised if the Australian production is the test production for any future touring productions, Lion King and Wicked both successful tour in many places and those were modified to make it tourable so it shouldn't be an issue to tour Cursed Child. |
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Post by daniel on Mar 25, 2018 1:14:07 GMT
the problem with touring Cursed Child is the reliance on trapdoors, revolve and various bits needing to come up through the floor. Touring theatres don't tend to want their stage chopped up, and venues have a huge variety of sub-stage space, so it would take some serious planning to determine which venues could physically and technically take the show, and then it would have to play a long enough run to justify the cost of putting holes in the stage. The other option of course would be to tour a pop-up venue. No easy feat in itself, but would certainly give a greater level of flexibility. I wouldn't be surprised if the Australian production is the test production for any future touring productions, Lion King and Wicked both successful tour in many places and those were modified to make it tourable so it shouldn't be an issue to tour Cursed Child. I think there's quite a difference between Lion King/Wicked's alterations for the touring productions compared to the changes that would be needed to be made to Harry Potter. The things that come through the floor on both Wicked and Lion King are nice-to-haves but not essentials. Pride Rock coming on from the side and Elphaba appearing from a false trap door work absolutely fine. Many of the Cursed Child effects rely on the trapdoors and simply wouldn't work without them. Not saying it won't ever happen because it no doubt will, I just think it will be a lot more complicated than for many other touring productions.  |
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Post by Deleted on Mar 25, 2018 10:25:53 GMT
I wouldn't be surprised if the Australian production is the test production for any future touring productions, Lion King and Wicked both successful tour in many places and those were modified to make it tourable so it shouldn't be an issue to tour Cursed Child. I think there's quite a difference between Lion King/Wicked's alterations for the touring productions compared to the changes that would be needed to be made to Harry Potter. The things that come through the floor on both Wicked and Lion King are nice-to-haves but not essentials. Pride Rock coming on from the side and Elphaba appearing from a false trap door work absolutely fine. Many of the Cursed Child effects rely on the trapdoors and simply wouldn't work without them. Not saying it won't ever happen because it no doubt will, I just think it will be a lot more complicated than for many other touring productions. I agree it would have to be in probably limited theatres for longer 'sit down' productions that allowed for the major alterations to the stage it would probably take. Not to say it wouldn't happen because obviously it's a major cash-cow for the theatres involved. But I don't think it's likely to have a 'normal' touring life ever. (Also in the short term there's probably some business sense in keeping it 'limited availability' to London, NY, Oz single productions to keep that hype train running.) |
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Post by Jon on Mar 25, 2018 15:39:32 GMT
I agree it would have to be in probably limited theatres for longer 'sit down' productions that allowed for the major alterations to the stage it would probably take. Not to say it wouldn't happen because obviously it's a major cash-cow for the theatres involved. But I don't think it's likely to have a 'normal' touring life ever. (Also in the short term there's probably some business sense in keeping it 'limited availability' to London, NY, Oz single productions to keep that hype train running.) agreed! Taking the hypothetical situation of a UK tour, I would expect it to end up more like regional sit-down productions of 12 or so months, and it be marketed as separate productions rather than a tour. Maybe. I also wouldn't be surprised to see a production open at Universal Orlando...an immersive Harry Potter hotel with theatre attached, with tickets exclusively available as part of a theme park + hotel + show package. I'm sure there would be some rights issues to iron out as the parks use the film branding, but if they could make it work, it would be practically a license to print money. Orlando would be interesting although I'm not sure if Universal would be interested as it could sap business from other areas of the resort if people are just going to the Wizarding World of Harry Potter and Cursed Child. Vegas would make sense as you can sit down productions there such as Phantom and The Lion King, they could basically do what they did with Phantom and have the theatre built to their standards, moreso than what they did with The Lyric. I wouldn't be shocked if we get a Canadian production in Toronto, I envision it going to the Royal Alexandra Theatre since that has 1500 seats but I could see at the Ed Mirvish as they use scenic walls to reduce the capacity for smaller shows. |
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Post by daniel on Apr 3, 2018 9:56:59 GMT
In Orlando, well, would you go all that way and then lose an entire DAY watching a single pair of plays? Not viable, I think. See I think it would be viable - as an attraction it itself, people would be willing to spend a day (or two evenings) watching it. Also, if a Potter fan happens to be planning a trip to Orlando and is keen to see the show anyway, I think they'd be more than happy to kill two birds with one stone. |
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