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Post by n1david on Jul 5, 2018 9:44:17 GMT
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Post by zahidf on Jul 5, 2018 9:59:35 GMT
This had VERY good reviews when it was first on at the finborough
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Post by Rory on Jul 5, 2018 10:06:09 GMT
Brilliant news. Kenwright's on a roll with this and the Heathers transfer announcement. Foxfinder was mentioned on a list of around 10 productions BKL had mooted a few years ago, so great to see it finally happen.
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Post by Rory on Jul 5, 2018 10:11:10 GMT
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Post by Rory on Jul 5, 2018 10:18:39 GMT
It's so good to have the Ambassadors freed up after years of Stomp. I had been hoping beyond hope that The York Realist might still transfer there in September (I could see it working so well there) but Foxfinder sounds great.
Slightly off topic but I would love to know why The York Realist, unlike say The Inheritance, Summer and Smoke & Nine Night, hasn't announced a transfer after critical raves and why so little in general has transferred from the Donmar. The Almeida and Young Vic transfer with some frequency but if it's at the Donmar, chances are it won't, and as far as I'm aware Sonia Friedman has yet to transfer a Donmar show. It just interests me why thus is the case.
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Post by dani on Jul 5, 2018 10:58:46 GMT
It's so good to have the Ambassadors freed up after years of Stomp. I had been hoping beyond hope that The York Realist might still transfer there in September (I could see it working so well there) but Foxfinder sounds great. Slightly off topic but I would love to know why The York Realist, unlike say The Inheritance, Summer and Smoke & Nine Night, hasn't announced a transfer after critical raves and why so little in general has transferred from the Donmar. The Almeida and Young Vic transfer with some frequency but if it's at the Donmar, chances are it won't, and as far as I'm aware Sonia Friedman has yet to transfer a Donmar show. It just interests me why thus is the case. I wondered about The York Realist. Maybe it's an availability issue with the leads? I would imagine Miss Brodie might transfer. The only transfers I can think of during the Josie Rourke regime have been The Weir and My Night With Reg, Privacy (to New York), Les Liaisons Dangereuses (New York) and the first two all-female Shakespeares to King Cross. As for the Ambassadors, it's not a very nice venue. |
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Post by dani on Jul 5, 2018 10:59:54 GMT
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Post by partytentdown on Jul 5, 2018 11:05:29 GMT
It's so good to have the Ambassadors freed up after years of Stomp. I had been hoping beyond hope that The York Realist might still transfer there in September (I could see it working so well there) but Foxfinder sounds great. Slightly off topic but I would love to know why The York Realist, unlike say The Inheritance, Summer and Smoke & Nine Night, hasn't announced a transfer after critical raves and why so little in general has transferred from the Donmar. The Almeida and Young Vic transfer with some frequency but if it's at the Donmar, chances are it won't, and as far as I'm aware Sonia Friedman has yet to transfer a Donmar show. It just interests me why thus is the case. It may just be me, but it seems like things transfer much more frequently than they used to. It used to be the case that there'd be a short run and if it was a big success and you missed out, that was that, in most situations. But now it seems anything that's vaguely popular or well reviewed will move over to the west end. I wonder what the implications are for this in the long run - will people be less bothered about snapping up a 'hot ticket' knowing it's likely to turn up in the next few months somewhere else? |
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Post by n1david on Jul 5, 2018 11:25:17 GMT
Yes, as stated in the article. Damned autocorrect. I think people knew who I meant though. |
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Post by Deleted on Jul 5, 2018 11:28:58 GMT
partytentdown - Friedman has revolutionised the West End. New plays never used to get transferred - much to the chagrin of writers. The West End used to be dominated by musicals and comedies. This change is brilliant because it validates new writing and may encourage people to visit the venues that originated the plays. Friedman used to work for Out of Joint and is therefore steeped in new writing culture. Her vision, commitment and risk taking have proved that new writing can be commercial.
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Post by partytentdown on Jul 5, 2018 11:31:33 GMT
partytentdown - Friedman has revolutionised the West End. New plays never used to get transferred - much to the chagrin of writers. The West End used to be dominated by musicals and comedies. This change is brilliant because it validates new writing and may encourage people to visit the venues that originated the plays. Friedman used to work for Out of Joint and is therefore steeped in new writing culture. Her vision, commitment and risk taking have proved that new writing can be commercial. Yes, very good point, I guess it used to be far too risky for venues to take on the risk of a transfer themselves. Good on 'er! |
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Post by Rory on Jul 5, 2018 11:44:19 GMT
She's absolutely fantastic and I agree with all of the above. Her risk-taking (Jerusalem at the time and more niche shows like The Nether and The Jungle), vision and drive has totally transformed the West End landscape away from tame tired old revivals, jukebox shows and dark houses. She just doesn't appear to have the same relationship with the Donmar that she has with other theatres in the subsidised sector and I'm curious why that is.
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Post by david on Jul 5, 2018 11:48:05 GMT
Personally, I’m glad more things transferring. It allows those of us who maybe missed the original run for whatever reason a chance to see a show or revisit it if you’ve previously seen it. The fact that the Ambassadors is now available hopefully it allows productions a second life.
As others have said, I would have thought the York Realist would have been a dead cert for a transfer after the Donmar/ Sheffield run. I would love to know, like others why this hasn’t happened yet. This would definitely be one where I wouldn’t hesitate get a ticket to see it again if it did eventually transfer.
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Post by Jon on Jul 5, 2018 12:29:46 GMT
Nine Night is being co-produced by Trafalgar Entertainment rather than Sonia Friedman.
While Sonia hasn’t transferred anything from the Donmar, she has worked with Josie Rourke, she produced the Tennant and Tate Much Ado About Nothing which Rourke directed.
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Post by Rory on Jul 5, 2018 12:39:40 GMT
That's right. I mentioned Nine Night only as an example of a recent critical and commercial success from the subsidised sector which announced a transfer. Nearly all of the really raved about productions this year have announced one but not The York Realist.
My second point was about SFP never bringing in Donmar shows.
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Post by Deleted on Jul 5, 2018 14:00:23 GMT
That's right. I mentioned Nine Night only as an example of a recent critical and commercial success from the subsidised sector which announced a transfer. Nearly all of the really raved about productions this year have announced one but not The York Realist. My second point was about SFP never bringing in Donmar shows. Even though Friedman isn’t behind every single transfer she was the trailblazer and now others have hopped on the bandwagon. The other change is that a few years ago writers were very political and had no inclination for their work to be commercialised, as it were. Don’t forget that fringe was set up as an alternative theatre to challenge ideas about what Theatre could or should be. The change of name from fringe to OffWest End may have changed that relationship somewhat. In some ways one hopes that the commercial values of the WE do not ever dominate those of the subsidised Theatre, which should take risks of a different kind. It would be awful if theatres started programming with West End transfers in mind. |
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Post by Deleted on Jul 5, 2018 14:05:23 GMT
I imagine that the transfer of shows like Arinze Kene’s Misty and shows like Foxfinder (which I don’t know much about) to the West End could capture a younger theatre audience which would be great.
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Post by Jon on Jul 5, 2018 14:17:12 GMT
That's right. I mentioned Nine Night only as an example of a recent critical and commercial success from the subsidised sector which announced a transfer. Nearly all of the really raved about productions this year have announced one but not The York Realist. My second point was about SFP never bringing in Donmar shows. Even though Friedman isn’t behind every single transfer she was the trailblazer and now others have hopped on the bandwagon. The other change is that a few years ago writers were very political and had no inclination for their work to be commercialised, as it were. Don’t forget that fringe was set up as an alternative theatre to challenge ideas about what Theatre could or should be. The change of name from fringe to OffWest End may have changed that relationship somewhat. In some ways one hopes that the commercial values of the WE do not ever dominate those of the subsidised Theatre, which should take risks of a different kind. It would be awful if theatres started programming with West End transfers in mind. A show that is designed with a transfer in mind is almost likely to fail, we saw this with things like Great Britain. |
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Post by Rory on Jul 5, 2018 14:22:12 GMT
But for every Great Britain, there's a Ferryman!
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Post by sherriebythesea on Jul 14, 2018 18:24:52 GMT
This really interests me. I'm researching seats opinions on TheatreMonkey now. That stage is very high!!!
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Post by sherriebythesea on Jul 14, 2018 21:20:01 GMT
^It really is a high stage, and the cheap stalls at the back are awful. If you can't get a discount, rear circle is the only option at full price, alas. I thought you might say that. Being is US I’ve only been able to see Mr. Rheon in a few things. “Misfits”, “Vicious” and one of his GoT shows but there was always something when he was on screen that was compelling, even when he did seem a bit awkward. It will be interesting to see him now |
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Post by Rory on Aug 22, 2018 9:04:29 GMT
www.foxfinder.co.ukDon't like this updated artwork at all. Was better before. Black and white headshots in particular look naff in a West End poster. Not sure why Kenwright jumped ship from Target Live.
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Post by sherriebythesea on Aug 22, 2018 14:12:10 GMT
www.foxfinder.co.ukDon't like this updated artwork at all. Was better before. Black and white headshots in particular look naff in a West End poster. Not sure why Kenwright jumped ship from Target Live. Did they photoshop his head on? It just looks weird |
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Post by Deleted on Aug 22, 2018 14:14:25 GMT
I think that's just his head, my brother-in-law was asking me only yesterday if he's ever played an elf in anything because of the way he looks.  |
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Post by Rory on Aug 22, 2018 15:04:11 GMT
The Photoshop reminds me of an old Jason Donovan cassette cover knocking about c 1989. The photo doesn't scream 'dystopian thriller'. I'd love to work in theatre marketing if I had any artistic ability but it does amaze me that any producer / graphic designer would think that this poster (a) looks good or (b) markets the play well. A shame because the play sounds great as does the cast.
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