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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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Post by Deleted on Apr 3, 2018 15:09:09 GMT
Besides, we scarcely have enough appropriately-aged actors named Jamie to sustain both West End and Broadway productions, I don't see them opening another production any time soon.
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Post by daniel on Apr 3, 2018 20:53:40 GMT
This is a topic I researched fairly thoroughly academically, and still follow. The theme parks are the draw in Orlando, and many are committed through advance ticket purchase to spending most days in one park or another. To get anyone to even substitute, say, Busch Gardens for the Magic Kingdom for a single day is a massive achievement. If nothing else, the way the parks are set up with accommodation keeping visitors inside for the duration is a hard nut to crack. 6 hours of Potter I really don't see happening there at all. it's an area/industry that I am greatly interested in, but on this occasion I shall bow down and accept your superior knowledge TM I'm working on gut instinct so am more than willing to yield to your academic research!
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Post by djdan14 on Apr 13, 2018 17:49:42 GMT
Well I’m in New York next week so I thought I’d try my luck for the Friday Forty and I’ve only gone and done it! Seen it twice in London but interested in seeing the theatre for this more than anything.
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Post by tommy123 on Apr 14, 2018 14:21:55 GMT
How long do we think the 7 London cast members will stay for? I’m in New York in August and wondering if they’ll still be there!
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Post by Deleted on Apr 24, 2018 7:08:42 GMT
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Post by Deleted on Apr 27, 2018 1:15:43 GMT
Anyone who follows the awards in America, this is how Potter has tallyed up in terms of nominations ahead of the Tony announcement next week. Usually they don't mesn much, but still interesting to see:
Drama Desk Awards - 8 Noms (Featured Actor - Anthony, Director, Music, Costume, Lighting, Projection, Sound, Wig & Hair)
Outer Critics Circle Awards - 10 (Play, Featured Actor - Anthony, Score, Director, Choreography, Set, Costume, Lighting, Projection & Sound)
Drama League Awards - 3 Noms (Production, Distingushed Performance - Noma & Anthony)
So bar the Drama League where Noma is too nominated, Anthony is the only actor to be nominated at all the other awards.
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Post by 49thand8th on Jun 28, 2018 17:22:21 GMT
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Post by Jon on Jun 28, 2018 21:07:48 GMT
I wonder if they’ll be a Canadian production? I imagine they’d go to the Royal Alexandra or remodel the Ed Mirvish
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Post by tommy123 on Jun 29, 2018 16:17:53 GMT
Gideon Turner from the London cast has joined on Broadway!
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Post by greeny11 on Jul 3, 2018 20:34:36 GMT
Gideon was an excellent Harry Potter understudy in the last cast, so am pleased he's been chosen to go into the Broadway cast (and he's already been on for Harry).
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Post by Deleted on Aug 12, 2018 8:10:14 GMT
I might be going in March
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Post by tommy123 on Aug 13, 2018 19:18:23 GMT
Does anyone know when the original 7 are staying till? Im hoping to go in Feb!
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Post by joeinnewyork on Dec 4, 2018 21:24:10 GMT
Saw this a couple of weeks ago, with the original West End principals, after having seen it in London with the first replacement cast. In general, I think the originals - i.e., the ones now on Broadway - are better, with one exception: As Scorpius, the second cast's remarkable Samuel Blenkin went much farther with the role, utilizing heavily inflected line readings and an exaggerated movement vocabulary that stayed just this side of the grotesque to bring out way more humor and pathos than the merely very good Anthony Boyle.
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Post by 49thand8th on Dec 20, 2018 21:14:03 GMT
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Post by Deleted on Dec 20, 2018 22:17:11 GMT
So this is the first full-time Harry Potter who's not called Jamie, but he's still a James. Are they going for some kind of ongoing metatheatrical daddy issue thing with the casting or what?!
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