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Post by Baemax on Nov 4, 2016 18:55:52 GMT
With Sonia Friedman and Sam Mendes involved, and such a short run? Indubitably. Glad it's sold out, they should be more than amenable to taking back my extra ticket.
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Post by Honoured Guest on Nov 4, 2016 18:56:07 GMT
Have you read today's Guardian article where Mackenzie Crook is quoted as saying Jez Butterworth had only part-written Jerusalem when rehearsals started?
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Post by Cardinal Pirelli on Nov 4, 2016 23:17:30 GMT
With Sonia Friedman and Sam Mendes involved, and such a short run? Indubitably. Glad it's sold out, they should be more than amenable to taking back my extra ticket. What day is it for? I was working all day with no access to the internet so will have to wait until more tickets go on sale otherwise. EDIT: Unless they extend a week I'm only available for the matinee of 29th April, so it's a big long shot! Booked for Nuclear War and Road okay though.
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Post by foxa on Nov 4, 2016 23:26:27 GMT
I booked 10ish this morning - no queuing. Booked for the debbie tucker green play Upstairs; and 'The Kid' and 'The Ferryman' Downstairs.
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Post by Honoured Guest on Nov 4, 2016 23:41:14 GMT
Everything in the season is tantalisingly promising but also highly unpredictable, with so little information available about any of the shows. Even with Road, a very wellknown text, we know absolutely nothing about the planned production except that John Tiffany is directing and it's the traditional audience seating configuration. But Simon McBurney's and Alice Birch & Katie Mitchell's shows could both be absolutely anything at this stage. It seems odd that a new writing theatre is programming nearly a year ahead, and with every single writer having already had at least nine previous works produced, but I suppose we can't have everything. What we're promised is quite special.
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Post by mrbarnaby on Nov 5, 2016 0:40:41 GMT
They must be targeting a West End transfer, don't you think? Yes it's already booked it's theatre
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Post by Deleted on Nov 5, 2016 8:37:42 GMT
They must be targeting a West End transfer, don't you think? Yes it's already booked it's theatre Wyndhams anyone?!?
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Post by kathryn on Nov 5, 2016 8:57:51 GMT
With Sonia Friedman and Sam Mendes involved, and such a short run? Indubitably. Glad it's sold out, they should be more than amenable to taking back my extra ticket. What day is it for? I was working all day with no access to the internet so will have to wait until more tickets go on sale otherwise. EDIT: Unless they extend a week I'm only available for the matinee of 29th April, so it's a big long shot! Booked for Nuclear War and Road okay though. I returned a ticket for that performance yesterday afternoon, so worth checking to see if it has popped back up.
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Post by foxa on Nov 5, 2016 9:11:57 GMT
Now I'm wondering if I should have booked for the Alice Birch play....
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Post by showgirl on Nov 5, 2016 10:08:13 GMT
The combination of a not-particularly-appealing season (on the limited info currently available) and the steep price rises dissuaded me from even trying to book anything at this stage. I will just have to take a chance on getting a ticket nearer the time for anything which starts to sound promising. Shocked that the concession price in the Upstairs space has risen from £15 to £20, i.e. a third. Fair enough to raise it a few pounds but that's swingeing. Catch my pension going up by 33%!
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Post by n1david on Nov 5, 2016 12:12:56 GMT
I couldn't get Ferryman tix sent out, but was OK on The Kid (had to do two separate bookings because the website messed up, I've been charged three times for The Kid...) so I assume it's to stop the secondary market.
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Post by Baemax on Nov 5, 2016 13:52:31 GMT
Now I'm wondering if I should have booked for the Alice Birch play.... I didn't want to because she was partly responsible for the most execreble piece of rubbish I've EVER seen on stage, but I've booked it anyway. And this is why I never have any money...
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Post by foxa on Nov 5, 2016 14:22:18 GMT
These tough choices....Someone said they'd seen a production of one of her plays in Boston and liked it.
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Post by Baemax on Nov 5, 2016 14:41:42 GMT
Yeah, my Twitter feed is quite enthusiastic about some of her stuff, so for £12 I may as well give her another go. Maybe (and I realise this is crazy optimism here) Katie Mitchell will help corral her words into a good play.
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Post by Latecomer on Nov 5, 2016 14:59:07 GMT
I saw Birch's play Revolt at Stratford and was very taken with it....I liked the poetry of it. I have booked a cheap circle slip on the basis that maybe it won't matter if I can't see everything!!! And my bank balance can only stand so much booking before Christmas!
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Post by Honoured Guest on Nov 5, 2016 21:58:18 GMT
Yeah, my Twitter feed is quite enthusiastic about some of her stuff, so for £12 I may as well give her another go. Maybe (and I realise this is crazy optimism here) Katie Mitchell will help corral her words into a good play. This is their second Royal Court collaboration. Katie Mitchell and Alice Birch created Ophelias Zimmer earlier this year.
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Post by Deleted on Nov 5, 2016 22:01:11 GMT
They pretty much sound like the same show. I predict this will be 2 hours of nothing followed by a quite spectacular suicide
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Post by showgirl on Nov 6, 2016 4:48:14 GMT
I saw her Little Light at the Orange Tree recently, though that was an earlier work. It received some good reviews but the main impression I've retained is of confusing miscasting, so I'm none the wiser as to whether Alice Birch is a writer whose work interests and appeals to me.
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Post by Jon on Nov 18, 2016 0:23:15 GMT
Baz suggests that The Ferryman is in taks to go to the Gielgud after its run at the Royal Court. I assume they're waiting for Curious Incident to announce its closing before they confirm it.
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Post by Honoured Guest on Nov 21, 2016 16:42:39 GMT
Just a thought, but there's no guarantee "The Ferryman" will be a hit, and they could end up with a "Great Britain" situation, with a flop play losing a fortune in a major West End house for no good reason... One difference is that Great Britain had a full run in the Lyttelton, where it exhausted most of its potential audience before it transferred. Whereas The Ferryman has an unusually short limited Royal Court run with masses of unsatisfied demand, so it can easily sell a few weeks of West End tickets before it starts Royal Court previews. Then, it will either continue its momentum on opening or possibly, as you fear, die a death if it doesn't hit a popular nerve. The Royal Court played a similar strategy with The Nether, with an even shorter Royal Court run to create public demand which could only be satisfied with the Duke of York's transfer, where they had special Royal Court pricing for the early shows so as to carry the Royal Court audience demand over to the West End, and then build West End demand for the rest of the run. Also, Great Britain quickly shed the topicality which had been initially a strong draw.
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Post by Honoured Guest on Nov 21, 2016 16:46:24 GMT
And there may turn out to be casting which attracts a mass audience, whatever the general opinion of the play.
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Post by kathryn on Nov 21, 2016 19:55:02 GMT
I think we can be pretty confident of star casting, given the popularity and track record of the writer and director. Actors must be biting their hands off for parts.
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Post by Honoured Guest on Nov 21, 2016 22:40:56 GMT
but despite being amazing, 'The Nether' struggled badly, didn't it. Ah, I didn't know that. Was it an example of people who saw it being fascinated by it but the theme being of limited general appeal so that it hardly reached beyond the core Royal Court audience? When I saw it at the Royal Court, my overriding reaction was amazement that it was real and not a figment of my imagination. It's interesting that theatre companies seem to be leaping at the challenge to present The Nether - Latecomer reported here that there was recently a student production in Oxford and there's a planned production in Cardiff in the spring, for example. It's quite unusual for a new play to be widely taken up like this by other companies so quickly.
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Post by Jon on Nov 21, 2016 22:55:56 GMT
Just a thought, but there's no guarantee "The Ferryman" will be a hit, and they could end up with a "Great Britain" situation, with a flop play losing a fortune in a major West End house for no good reason... It has commercial backing from Sonia Friedman and Neal Street which makes me think that it was always planned to transfer. Great Britain was really the NT's arrogance of thinking that a play that dated as quickly as it debuted would succeed, losing Billie Piper and Oliver Chris didn't help either Just a thought, but there's no guarantee "The Ferryman" will be a hit, and they could end up with a "Great Britain" situation, with a flop play losing a fortune in a major West End house for no good reason... One difference is that Great Britain had a full run in the Lyttelton, where it exhausted most of its potential audience before it transferred. Whereas The Ferryman has an unusually short limited Royal Court run with masses of unsatisfied demand, so it can easily sell a few weeks of West End tickets before it starts Royal Court previews. Then, it will either continue its momentum on opening or possibly, as you fear, die a death if it doesn't hit a popular nerve. The Royal Court played a similar strategy with The Nether, with an even shorter Royal Court run to create public demand which could only be satisfied with the Duke of York's transfer, where they had special Royal Court pricing for the early shows so as to carry the Royal Court audience demand over to the West End, and then build West End demand for the rest of the run. Also, Great Britain quickly shed the topicality which had been initially a strong draw. They did that with Stoppard's Rock and Roll, started at the RC before transferring to the West End weeks later. I wonder if Hangmen was intended to transfer before it opened at the RC? Good points both, HG, but despite being amazing, 'The Nether' struggled badly, didn't it. As you say, casting could be key - if Piper had stayed with 'Great Britain,' it may have helped. Sonia Friedman mentioned in an interview that she transferred the show because she wanted it to reach a wider audience, she knew it wasn't going to be commercially successful. She has enough hits to balance a few shows that won't recoup.
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Post by Snciole on Nov 22, 2016 15:37:50 GMT
but despite being amazing, 'The Nether' struggled badly, didn't it. Ah, I didn't know that. Was it an example of people who saw it being fascinated by it but the theme being of limited general appeal so that it hardly reached beyond the core Royal Court audience? When I saw it at the Royal Court, my overriding reaction was amazement that it was real and not a figment of my imagination. It's interesting that theatre companies seem to be leaping at the challenge to present The Nether - Latecomer reported here that there was recently a student production in Oxford and there's a planned production in Cardiff in the spring, for example. It's quite unusual for a new play to be widely taken up like this by other companies so quickly. It is excellent but there were no star names and definitely upgrades, if not comps, when I went to see it but it very much relied on word of mouth as I had no interest until people on here raved about it.
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Post by bellboard27 on Nov 22, 2016 17:27:30 GMT
Ah, I didn't know that. Was it an example of people who saw it being fascinated by it but the theme being of limited general appeal so that it hardly reached beyond the core Royal Court audience? When I saw it at the Royal Court, my overriding reaction was amazement that it was real and not a figment of my imagination. It's interesting that theatre companies seem to be leaping at the challenge to present The Nether - Latecomer reported here that there was recently a student production in Oxford and there's a planned production in Cardiff in the spring, for example. It's quite unusual for a new play to be widely taken up like this by other companies so quickly. It is excellent but there were no star names and definitely upgrades, if not comps, when I went to see it but it very much relied on word of mouth as I had no interest until people on here raved about it. Yes, excellent - I went to both RC and DoY for it. My memory might be playing tricks, but I seem to remember quite a few empty seats at the RC when I went.
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Post by Jon on Nov 22, 2016 18:10:08 GMT
Agree, Jon, on both, and the NT thing was arrogance indeed. I do think the failure of Great Britain was a reminder to the NT that not every transfer will succeed, I imagine they thought after the huge success of War Horse, Curious Incident and One Man Two Guvnors that anything from the NT could transfer and be a hit. I'm sure the profits of Cursed Child which I assume has already recouped can fund a few loss makers
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Post by wiggymess on Jan 18, 2017 12:02:48 GMT
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Post by wiggymess on Jan 26, 2017 10:16:08 GMT
Outset bet here... Does anyone know how decent G3 & 4 are in the stalls? Marked as red on theatremonkey but can't see why? Cheers
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Jan 26, 2017 10:27:13 GMT
You're outside the width of the stage so might miss the edge of the stage - don't think there'd be a huge issue but these seats are the same price as those further in, so if available you'd be better going for those. I've certainly sat in aisle seats and had no problem.
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