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Post by MrBunbury on Feb 13, 2018 10:20:04 GMT
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Post by Deleted on Feb 13, 2018 10:28:35 GMT
Some interesting-looking stuff. I'm very interested in the idea of opening the Samuel French bookshop in the balcony bar. There's not... a *huge* amount of space up there, I do have to wonder where all the shelves will go. Apparently the big red wall is a legitimate art piece in its own right, so I presume they wouldn't want to completely block it off. And I'm not going to lie, I enjoy sitting up there in relative quiet so I will be slightly miffed if the new bookshop interferes with that. And what does it mean for the RC bookshop in the downstairs bar? Is that one going to come under the Sam French banner or is it going to continue as its own separate concern (they do say that when the Sam French shop is closed, there'll be a smaller stall in the downstairs bar area around performance times, so it could go either way)?
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Post by Marwood on Feb 13, 2018 11:56:53 GMT
Looking at whats on offer, nothing really getting excited, but thats possibly (probably) me just being superficial and shallow because there are no casting announcements. I'll wait and see before committing to anything.
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406 posts
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Post by MrBunbury on Feb 13, 2018 12:37:53 GMT
Isn't it a bit odd that there is a gap of almost two months in the program for the Downstairs Theatre (20th May - 12th July)?
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Post by jadnoop on Feb 13, 2018 12:45:43 GMT
Ugh. The blurbs given for these plays must be the most opaque, unhelpful texts I've seen yet. I can't help but think it would take considerable effort to provide less information for a potential audience to make their choices on than the couple of lines given for The Woods .
Apologies; I know I've ranted about this before, but it's so frustrating to hear about a new season, excited to choose something new to see, only to realise that you may as well throw darts at a board. If the hope is to attract people to see new creators (i.e. Not just rely on star-power), then surely they need to give a little more for potential audiences to make decisions on.
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Post by harry on Feb 13, 2018 12:54:49 GMT
Isn't it a bit odd that there is a gap of almost two months in the program for the Downstairs Theatre (20th May - 12th July)? Surely that's where the two LIFT 2018 productions mentioned in the announcement will fit, no? |
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Post by lynette on Feb 13, 2018 13:16:02 GMT
Help me out here, it all looks very grim. Anything I should get excited about? I wonder what the future will make of us when they look at this raft of plays.
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Post by RedRose on Feb 13, 2018 13:17:42 GMT
Waiting till cast announcements before I'll book anything.
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3,578 posts
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Post by Rory on Feb 13, 2018 15:04:35 GMT
Isn't it a bit odd that there is a gap of almost two months in the program for the Downstairs Theatre (20th May - 12th July)? A big enough gap also between 11th August and 21st Sept. |
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406 posts
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Post by MrBunbury on Feb 13, 2018 16:31:12 GMT
I am actually intrigued by "Instructions for correct assembly", "One for sorrow", and "The woods" (I want to see if there is a real wolf. I will not wear my red hood...)
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Post by crowblack on Feb 13, 2018 17:25:46 GMT
I was hoping for a return of The Children or Hangmen when they've finished in the US (had tickets for The Children but couldn't make it on the day and I'm still annoyed). |
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Post by crowblack on Feb 14, 2018 11:07:51 GMT
Ok, booked cheap Monday stalls seats for the four plays downstairs.
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Post by foxa on Feb 16, 2018 10:25:40 GMT
Public booking is now open - and seems very calm.
I booked for two shows - The Cane (Ravenhill) and Instructions for Correct Assembly and may book later for debbie tucker green's piece.
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Post by MrBunbury on Feb 16, 2018 10:42:25 GMT
I booked Instructions for Correct Assembly and Pity. I wanted to book The cane but I noticed that the cheap tickets have gone up to 14 pounds so I will wait for the Monday tickets when the show is on.
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Post by Deleted on Feb 16, 2018 10:55:05 GMT
They're only £14 post-preview, if you can get to the first few performances they're still £12.
I'm holding off on booking The Cane for now. I have very particular seats I like, but even so I figure I can wait a month or two before booking something in December/January!
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1,503 posts
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Post by foxa on Feb 16, 2018 11:58:19 GMT
Help me out here, it all looks very grim. Anything I should get excited about? I wonder what the future will make of us when they look at this raft of plays. I did find booking for season a bit difficult. I always like to see a couple of things in any given Royal Court Season but reading the blurbs for these made it hard to get a sense of what I was letting myself in for - and it was complicated by one or two of the writers or directors being associated in my mind with some pretty grim evenings in the theatre. One of the pieces also sounded like an advanced A level piece (and I've sat through enough of those in my time.) However, once casting is announced or a bit more about the plays, I may be kicking myself that I didn't book for more. |
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Post by lynette on Feb 16, 2018 22:06:12 GMT
Help me out here, it all looks very grim. Anything I should get excited about? I wonder what the future will make of us when they look at this raft of plays. I did find booking for season a bit difficult. I always like to see a couple of things in any given Royal Court Season but reading the blurbs for these made it hard to get a sense of what I was letting myself in for - and it was complicated by one or two of the writers or directors being associated in my mind with some pretty grim evenings in the theatre. One of the pieces also sounded like an advanced A level piece (and I've sat through enough of those in my time.) However, once casting is announced or a bit more about the plays, I may be kicking myself that I didn't book for more. Well we can both kick ourselves in unison, foxa. |
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Post by showgirl on Feb 17, 2018 5:07:04 GMT
Ugh. The blurbs given for these plays must be the most opaque, unhelpful texts I've seen yet. I can't help but think it would take considerable effort to provide less information for a potential audience to make their choices on than the couple of lines given for The Woods . Apologies; I know I've ranted about this before, but it's so frustrating to hear about a new season, excited to choose something new to see, only to realise that you may as well throw darts at a board. If the hope is to attract people to see new creators (i.e. Not just rely on star-power), then surely they need to give a little more for potential audiences to make decisions on. I completely agree and rather than being unintentionally unhelpful, it looks to me as though the blurb-writers have set out to obscure and obfuscate. It might suit some but it deters me from booking anything whatsoever. You'd think it was a competition to see how much they could write without divulging any actual information. Bring back the good old days of telling potential patrons a little about a play or show and giving them some idea of whether they might like it. |
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Post by crowblack on Feb 18, 2018 11:45:39 GMT
have set out to obscure and obfuscate. Maybe the plays aren't finished yet! |
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Post by foxa on Feb 18, 2018 12:20:41 GMT
Yes - that's true. From the description of 'Pity' I rather thought it might not be:
“Two bombs in one day is a foul coincidence”
“Don’t forget the lightning strike”
A normal day.
A person stands in the market square watching the world go by.
What happens next verges on the ridiculous.
There’s ice cream. Sunshine. Shops. Some dogs. A wedding. Bombs. Candles. Blood. Lightning. Sandwiches. Snipers. Looting. Gunshots. Babies. Actors. Azaleas. Famine. Fountains. Statues. Atrocities.
And tanks. (Probably).
Rory Mullarkey’s new play asks whether things really are getting worse. And if we care.
“[Someone screaming]: AAAAAAAAAAAAAAHHHHHHHH”
* That really is it.
** I think we should have a parody blurb contest.
Mine might end:
'Woman: Huh?'
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Post by wiggymess on Feb 18, 2018 13:11:27 GMT
have set out to obscure and obfuscate. Maybe the plays aren't finished yet! Spot on. |
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Post by showgirl on Feb 18, 2018 15:23:46 GMT
Well, then, maybe theatres who like to post such enigmatic info about their new seasons would care to start taking part-payment only from those who book so far in advance, instead of the full amount upfront? After all, other businesses work on a "deposit only" basis in the first instance. The balance could be paid on publication of full details, at which stage the customer could choose to cancel and receive a refund. Or alternatively, depending on the T & C, forfeit the deposit, which would still be cheaper than having to fork out the whole cost, only to regret it.
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531 posts
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Post by wiggymess on Feb 18, 2018 16:39:19 GMT
Well, then, maybe theatres who like to post such enigmatic info about their new seasons would care to start taking part-payment only from those who book so far in advance, instead of the full amount upfront? After all, other businesses work on a "deposit only" basis in the first instance. The balance could be paid on publication of full details, at which stage the customer could choose to cancel and receive a refund. Or alternatively, depending on the T & C, forfeit the deposit, which would still be cheaper than having to fork out the whole cost, only to regret it. Good grief... |
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Post by Deleted on Feb 18, 2018 21:52:55 GMT
Although Mullarkey’s St George didn’t quite work. I am nevertheless looking forward to his play because his first piece at the RC was original and fun. I am hoping that the RC is more suited to his style.
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3,578 posts
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Post by showgirl on Feb 19, 2018 4:32:50 GMT
Well, then, maybe theatres who like to post such enigmatic info about their new seasons would care to start taking part-payment only from those who book so far in advance, instead of the full amount upfront? After all, other businesses work on a "deposit only" basis in the first instance. The balance could be paid on publication of full details, at which stage the customer could choose to cancel and receive a refund. Or alternatively, depending on the T & C, forfeit the deposit, which would still be cheaper than having to fork out the whole cost, only to regret it. Good grief... I was, of course, joking - but also making a point about the invidious position in which this practice may place theatregoers. |
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