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Post by Rukaya on Oct 7, 2019 22:03:47 GMT
Don't think they have any offers ie discounts, just full price plus booking fee tickets. Probably better off buying via The Other Palace site still.
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Post by Theatre Fan on Dec 4, 2019 14:05:24 GMT
Luke Bayer will reportedly join the cast. No info in what role x
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Post by danb on Dec 4, 2019 14:40:10 GMT
Will Bobby Davro be playing his dad? Will Luke play Bobby Davro too? Has anyone ever seen the two of them in the same room? Just putting it out there lookielikey fans... Davros Shirley Bassey is nearly as good as Joe Longthorne’s was, ie better than Shirleys. More excited by this than watching the show.
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Post by Deleted on Dec 5, 2019 0:47:22 GMT
Will Bobby Davro be playing his dad? Will Luke play Bobby Davro too? Has anyone ever seen the two of them in the same room? Just putting it out there lookielikey fans... Davros Shirley Bassey is nearly as good as Joe Longthorne’s was, ie better than Shirleys. More excited by this than watching the show. I once threw a Jaffa cake at Bobby Davro.
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Post by ukpuppetboy on Dec 5, 2019 1:39:24 GMT
I once threw a Jaffa cake at Bobby Davro. This needs to be the start of a whole new thread on ‘most random showbiz encounters’.
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Post by ABr on Dec 9, 2019 10:42:27 GMT
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Post by viserys on Dec 9, 2019 10:50:41 GMT
Blake Now I'm glad I booked, even if it's gonna be mayhem central with the ladies from Six.
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Post by Theatre Fan on Dec 9, 2019 11:07:01 GMT
Luke Bayer will reportedly join the cast. No info in what role x My source got mixed up lol Meant Millie from Soho Cinders, not Luke. Ah well. Great cast 💖 x
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Post by sparky5000 on Dec 9, 2019 11:42:09 GMT
^Putting the pedantic semantics of an earlier poster aside,I’m really impressed that ALW and his people have their fingers on the pulse in giving youth-driven/teen shows like this a chance to shine.ALW knows where the future and the money lies in MT.Punters who were fans of shows like Oklahoma,Showboat and other golden oldies are literally a dying breed.MT has to re-invent itself and speak to new generations of theatregoers and whilst the new cult of obsessive fandom is alarming in some ways,it is also a comforting reminder of the power of MT as a genre.BK’s teaser advertising for Heathers has cleverly tapped into the new youth-driven social media feeding frenzy for shows such as that. Only Toby and Lucy in the UK seem to have found the Midas touch whilst the Americans seem to be more switched on altogether.Shows like JCS and Evita simply had to be re-imagined or they would face becoming nothing more than museum pieces.Good luck to BMC...hope it’s a smash and hope all the shows I mentioned in an earlier post also cross the pond and are successful.The future is the youth! Amen. The issue though, that others have said, is that for the most part British MT just isn’t being given a chance, or the backing, which is a real shame. ALW is a businessman and of course he is going to back a US show like BMC which did great guns when it was off-broadway, is already established and has a built-in fanbase and rabid social media following - just woulda been nice to see TOP taking a chance on homegrown talent. They can’t get that same following if they are never given the chance.
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Post by djdan14 on Feb 12, 2020 19:45:12 GMT
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Post by fiyero on Feb 12, 2020 20:30:43 GMT
I'm not there until 14/03 but I want that slush cup! I think more shows should do them
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Post by Dr Tom on Feb 12, 2020 23:45:43 GMT
Excellent show tonight! I saw this on Broadway, enjoyed it and found it just as good in the UK. A much better musical than Dear Evan Hansen.
Sold out for this night (and many others) with an audience that made Heathers' fans look normal, but they behaved well, with only the odd bit of cheering and clapping during songs. An instant standing ovation from the entire audience at the end, followed by sustained clapping and the all important audience selfie.
The second row £15 seat was a bargain. Stage level, perfect view. The front row fans who paid premium prices got a goodie bag, which as far as I can tell had a certificate and a badge, maybe other bits.
The Broadway set was basic, this even more so, but you didn't really notice. The set is a large screen in the background. Lots of line art and digital graphics.
If there is one thing to improve, it's that they haven't got the sound levels sorted yet. Very quiet in some songs, some microphone rustling etc. But there seemed to be a lot of people hanging about who were working on the show, so I'm sure they'll sort this.
I think the highlight had to be Blake Patrick Anderson as Michael. Having seen this show in the States, it looked strange to have a white Michael here, but he did a great job and really nailed Michael In The Bathroom.
Scott Folan was good in the lead role as Jeremy. I'm not sure all the songs were in the right key for him, but he had nerdy teen down a tee.
And Stewart Clarke is excellent in everything he does.
Overran a bit tonight, finishing just after 10pm (the advertised run time is 2 hours 15 minutes). So bear that in mind if you're planning travel.
Definitely worth going to see. It won't be for everyone, but it's a lot of fun and a good change to the traditional teen musical. And don't be scared off by the fanbase. If tonight's audience is anything to go by, a lot of them know the show well from the soundtrack and were all just really excited to see it play out on stage.
And, if you can't see it at The Other Palace, I suspect, even at this early stage, it's due a transfer. I'm glad I booked up my tickets for return visits early.
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Post by theatre241 on Feb 13, 2020 7:17:37 GMT
The broadway production if I remember had automation to bring set pieces on, is this still the same for the other palace or is it replaced by a screen?
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Post by Dr Tom on Feb 13, 2020 8:47:06 GMT
The broadway production if I remember had automation to bring set pieces on, is this still the same for the other palace or is it replaced by a screen? There's a big screen at the back, most of the width of the stage. There are small items like desks used, but they're wheeled on.
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Post by theatre241 on Feb 13, 2020 12:07:17 GMT
The broadway production if I remember had automation to bring set pieces on, is this still the same for the other palace or is it replaced by a screen? There's a big screen at the back, most of the width of the stage. There are small items like desks used, but they're wheeled on. Ahh thank you, are there any moving Collums
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Post by stevejohnson678 on Feb 13, 2020 13:31:36 GMT
And, if you can't see it at The Other Palace, I suspect, even at this early stage, it's due a transfer. I'm glad I booked up my tickets for return visits early. Maybe it will extend at The Other Palace rather than transfer, particularly as Heathers didn't seem to pull up any trees in the West End and the Eugenius transfer was pulled. There's been nothing announced for the main space at The Other Palace after Be More Chill so far.
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Post by danb on Feb 13, 2020 13:50:38 GMT
It hasn’t done the Arts any harm having a long runner has it?
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Post by Dr Tom on Feb 13, 2020 14:09:56 GMT
Ahh thank you, are there any moving Collums I don't remember any moving columns.
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Post by Deleted on Feb 13, 2020 16:19:44 GMT
TOP doesn't have a fly tower so nothing is ever flown in. It also has very limited wing space and I have never seen any automated sets there. Sets are generally static with some bits moved by the company. That said, have seen some elaborate and excellent static sets there. And some nice lighting designs.
Anyway, pleased to hear some initial great reports for this! Out of the American teenage angst influx, this is the only one I really liked based on cast recording - going in a few weeks :-)
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Post by Steve on Feb 15, 2020 0:38:22 GMT
I enjoyed this. For me, a five star production of a three star musical, that hits it's teen core audience's buttons hard, but lacks crossover appeal. Some spoilers follow. . . For me, the best teen shows have cross-over appeal, whereby even if you have aged into the realisation that there's nothing wrong with being a "loser," there's some other narrative thread thrown in to interest you. So, "Dear Evan Hansen" may be about the pain of loserdom, but it's also a thriller. Ditto "Heather's," which is similarly about trying to avoid loserdom, but is also a hilarious social satire. This show has no crossover. It's pure undiluted teen angst. The sci-fi elements are not developed to engage the brain, as they easily could have been, had, say, the AI acquired an element of humanity, like Hal in 2001, for example. But no, it's just a plot device. Indeed, this show is so plotted and deviced, that it lacks the lackadaisical charm of another recent pure teen show at the same theatre, "Eugenius." And that brings me to another problem I have with this show. Where Eugenius humanised multiple characters of both sexes (think how loveable and relateable BOTH Rob Houchen AND Laura Baldwin were, with the points of view of both characters respected, and the tender cores of both characters revealed), this show only humanises the men, rendering the females principally as comic characters. I mean, I don't wholly object to this, as in this production, all the best laughs lie with these female caricatures, and some superb comic actors milk these caricatures for big laughs. Comic caricatures cue laughs by speaking and moving at a different pace from fully rounded humans, so Eloise Davies' Brooke milks big laughs from slow spaced out drug-addled line deliveries; Miracle Chance's Christine slows down even further into bug-eyed sloth-like zombiedom, and Millie O'Connell speaks in a state of constant staccato attack, pouncing aggressively on words to milk laughs from her inner crazy. Indeed, she got the single biggest laugh of the night in one monstrously unpredictable outburst. So yeah, these caricatures made me laugh loudly, and I loved it! But where are the quiet moments for these female characters, where is their roundedness, their human moment? Why don't any of the women get a "Michael in the Bathroom" song? This song is the one SOLID GOLD song in the show, and it's got nothing to do with the calculated "Weird Science" sci-fi shenanigans: it's just one lonely confused boy abandoned by his friend in the bathroom at a party. It's this kind of real rounded human vulnerability that allows Blake Patrick Anderson, as Michael, to own the show. And he does own it. The teens behind me in Row C ended the show by saying how Michael was their favourite character, how much they loved him. And it's plainly because his character is allowed to live a real relateable human life in a way no female character does. Scott Folan, as the principal lead, doesn't get a song as good as this song, but his set-up is a wonderful expression of a very real teen fear about being an outcast, and Folan is terrific, his nervous energy channeled into his unique and believable line deliveries, such that you care about his character. Anyway, the ensemble deliver everything that is asked of them and more. But ultimately, the show is hit and miss, because too often (Michael's big song excepted), the characters are mere pawns in a mechanistic teen plot and there is no crossover appeal. One redeeming factor to the mechanical nature of the plot is that the terrific Stewart Clarke is at the centre of it. While he doesn't get to emote and break hearts the way he did in the "The Rink" and "Return of the Soldier," he does bring some comic lift and charisma to his role as "The Squip in the Not-so-technicolor Silvercoat" lol. Overall, the actresses milked the laughs and the actors milked the feels, but I would have liked more of both. 3 and a half stars for a wonderfully cast and directed production of a show mostly made for teens.
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Post by eliza on Feb 15, 2020 22:27:08 GMT
Oh I really enjoyed this. It was funny, the songs were catchy and I loved the warmth between Jeremy and Michael.
After finding Dear Evan Hansen to be really underwhelming, I went into this expecting it to be the same and to not like it so it was a pleasant surprise. I think it helped that I knew actually nothing about the plot going in!
Audience were a pain. People singing along or talking at full volume or laughing especially loud to show what super fans they were. I wish I'd booked for later in the run to give them all a chance to see it before I went!
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Post by mrbarnaby on Feb 16, 2020 19:51:57 GMT
Does Stewart Clarke remove any clothes? That’s all I wanna know about.
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Post by Deleted on Feb 16, 2020 20:03:46 GMT
Does Stewart Clarke remove any clothes? That’s all I wanna know about. Alas, unfortunately not.
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Post by mrbarnaby on Feb 16, 2020 20:48:24 GMT
I’m not going to go then. Silent protest.
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Post by robertb213 on Feb 16, 2020 22:34:24 GMT
Sadly Stewart is heavily layered-up but he gives such a brilliant performance he can be forgiven!
I liked it rather than loved it, I'm glad I did a £35 preview seat rather than the higher prices later on.
'Michael In The Bathroom' was brilliant though.
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Post by stagebyte on Feb 17, 2020 0:15:17 GMT
Really wanted to love this as I love the soundtrack however there was just something missing from this production for me. Can’t fault the cast, brilliant vocals - think it was just a weak book? First act seemed to take ages to get to the point with a much stronger second. Jeremy seemed quite an underwritten character imo with Michael much more rounded characterisation with of course the 11 o’clock number. Female cast woefully underused. Set cheap with a digital screen depicting the scenes. Not exactly crystal clear display with blurring at the edges. This could’ve been a deliberate design choice but I noticed the same at Falsettos there recently. Really cheapened the overall effect to that of a high school production. And the evil Squip’s costume was very distracting - If the designer was going for sci fi Matrix I’m afraid all I could see was a monochrome Joseph’s coat.
When you’re distracted by the set and costumes this is not a good sign. This type of ‘teen geek angsty’ musical has been done much better - 13, Loserville to name a couple of examples. This seemed derivative. The mostly younger audience were well behaved (no singing or phones) when we saw it and very appreciative so I’m sure it will be a popular word of mouth hit. Can’t see it being worthy of a transfer though I just don’t think that the book or the majority of the characters are strong enough in the way Heathers was Creatives were in on our row, not much scribbling done so I’m guessing the show is where it needs to be. One comment for the director if he reads here. A giant smurf like bobble hat worn inside the theatre really isn’t that great theatre etiquette. You may have seen the show multiple times but the poor people sitting behind you hadn’t 😂
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Post by Dannyboi on Feb 17, 2020 16:35:03 GMT
Can someone who’s been in the Squip zone (front row) tell me what the exclusive collectible is for London? I know on Broadway it was a different pin badge every month, only it doesn’t go into details on the website when booking. Thanks in advance xx
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Post by Dr Tom on Feb 17, 2020 16:42:29 GMT
Can someone who’s been in the Squip zone (front row) tell me what the exclusive collectible is for London? I know on Broadway it was a different pin badge every month, only it doesn’t go into details on the website when booking. Thanks in advance xx From the second row, it looked like people at the front had a pin, but I couldn’t tell you what was on it.
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Post by Dannyboi on Feb 17, 2020 18:00:25 GMT
Thankyou for the fast reply Dr Tom, same as Broadway then. xx
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Post by anthony40 on Feb 17, 2020 18:05:13 GMT
Could anyone tell me if they are selling any merchandise? Specifically posters? I have emailed The Other Palace but to date have has no response.
Thanks in advance.
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