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Post by SamB (was badoerfan) on Oct 15, 2019 20:59:10 GMT
9 to 5 tends to be one of the ones that's easy enough for Rush tickets. If you get nothing immediately after 10am, check back a bit later for when they either get released from people's baskets, or they bung the unsold tickets on as Rush tickets.
A few weeks ago on a Saturday I got a single ticket in Row H stalls at about midday for the matinee.
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Post by SamB (was badoerfan) on Oct 15, 2019 20:49:58 GMT
Saw this last week and had no idea what to expect - then halfway through the first half I realised I actually knew most of the songs, and had flashback memories to doing a 'Selections from Fiddler on the Roof' thing with my choir as a teen.
I basically think this is an excellent production of a good musical. Not knowing the plot, I was waiting for something more dramatic to happen - but I think I'm glad it didn't. It would have taken away from the tenderness and intimacy of the arcs of Tevye and Golde.
Very pleased to have finally ticked this one off the list.
(on a side note: are all the seats in this theatre so high? We were in Row E of the dress circle (great views!) and my feet barely touched the floor! And I'm not a tiny person...)
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Post by SamB (was badoerfan) on Oct 15, 2019 20:40:52 GMT
After seeing some of the comments on here I wasn't expecting to enjoy this, but pleased to say that I really did. Genuinely laugh out loud funny, charming performances, good songs.
Nothing earth-shattering, but an enjoyable night out.
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Post by SamB (was badoerfan) on Oct 13, 2019 17:04:56 GMT
I realised this at Charing Cross Theatre, with the new transverse layout. You really can see so much of the audience on the other side, and especially a phone screen lights up the person's entire face, bathing them in a pool of light.
(Another reason I dislike that new layout at CC, actually - so easy for audience members to be distracting on the other side)
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Post by SamB (was badoerfan) on Oct 5, 2019 11:09:59 GMT
Yes! Love this show and didn't get to see it in Manchester, excellent news!
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Post by SamB (was badoerfan) on Sept 13, 2019 20:58:11 GMT
And you can see all three in one day if you've got the energy!
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Post by SamB (was badoerfan) on Sept 11, 2019 12:42:58 GMT
Thank you for starting this thread - I often feel like I miss offers and don't hear about them until it's too late.
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Post by SamB (was badoerfan) on Sept 11, 2019 11:52:22 GMT
There's a line in the first song of the second act that sums up this musical excellently:
{Spoiler - click to view} who'd've thought going over the falls would be tedious, monotonous, repetitive and, worst of all, not fun
I honestly thought this was terrible, and it's the closest I've ever come to leaving at the interval. Wandering songs with no melody and a dreadful book combine for a very boring two hours. It's not helped by the performances as they're directed, which don't involve the audience at all (probably exacerbated by the room being less than half full), and poor staging with choreography that is alternately unimaginative and baffling ("why are they dancing like that?" "why are they holding those object at her?"). The show gives us no reason to like or even care about what happens to Anna, who is played as constantly shrill and objectionable. The best scenes are the few that don't involve her (and this isn't a criticism of Trudi Camilleri - having listened to a couple of songs on the US Cast Recording, it seems it's pretty much how it's written).
I've now seen two of the three productions at Charing Cross with the new traverse layout, and I really don't think it works - either that or the directors have struggled to work with the space. This show had numerous incidences of dramatic scenes (including parts of the finale) that were mostly played to one side; it also used the 'ends' of the stage, but with the stage being narrow, this just doesn't work - anyone on that edge of the auditorium just can't see.
The layout also displays major issues in the sound design. When an actor is facing you (particularly if you're quite close) you can hear their singing voice coming both from them and from the speakers. When they then turn around and face the other side, you totally lose the sound coming from their mouth and just have the sound coming from the speakers, which are above you - it's a strange sensation, and results in volume variations and sound shifts throughout.
There were brief moments when I could see what the piece was going for, and I believe a better production might show off those elements more effectively. But as it stands, it's a one-star for me.
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Post by SamB (was badoerfan) on Jul 22, 2019 18:40:01 GMT
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Post by SamB (was badoerfan) on Jul 22, 2019 18:35:51 GMT
Absolutely loved it last night - highlight of my year. Lea was in impeccable voice and I love her between-song chat. Really happy to hear Reflection in particular, as well as Story of My Life, which has been a favourite of mine since she released the Blurred Lines album. Delighted to see Rachelle Ann Go too, and nice to hear them sing I Know Him So Well rather than bellowing Movie In My Mind at each other (though I would have been pretty ecstatic to see that too).
Sound was absolutely perfect at the back of the stalls (as you might expect right in front of the sound desk).
Audience behaviour near me (back of the stalls) was mixed, mostly impeccable, and then a few people filming and on phones throughout. Decided early on not to let myself get annoyed by it, and just enjoy it - I've certainly seen much worse at concerts, it just feels out of place in a theatre venue.
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Post by SamB (was badoerfan) on Jul 7, 2019 21:15:18 GMT
So I was far right on aisle as you look at stage (cross side) so although I liked it being movable it took it away from me lol. It took it towards Viserys however so she probably appreciated it! (Overall for the audience it is definitely a good thing though!) How is it, being on the far sides? Is it particularly restricted?
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Post by SamB (was badoerfan) on May 30, 2019 21:30:45 GMT
So.... is it better than the 'sneak peek' thing makes it look? Considering booking, but not thrilled on this evidence.
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Post by SamB (was badoerfan) on Apr 28, 2019 15:17:17 GMT
Anyone know much about this. Seems to be a one-act Stephen Schwartz thing, which includes the Disney movie songs and some new songs. Another Youth Theatre production, it seems.
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Post by SamB (was badoerfan) on Apr 6, 2019 19:37:56 GMT
I feel like they never do this show justice in public performances. I was considering seeing it last year, then saw the West End Live performance and thought it was dreadful so decided against it. Eventually grabbed one of the discounted tickets they did for January at the end of the last run, and absolutely loved the show.
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Post by SamB (was badoerfan) on Mar 29, 2019 23:26:52 GMT
Well, I liked it but didn't love it. I really enjoyed a lot of the things it was doing, but it never really touched me emotionally. Kaisa Hammarlund is fantastic though.
Glad I went, worth a watch, but I wouldn't rush back.
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Post by SamB (was badoerfan) on Mar 28, 2019 23:24:19 GMT
Mel and Gavin almost cracked up during the jiu-jitsu scene too and the 'pot scene' is still the most boring part of the show and I wouldn't miss it a jot if it wasn't there. Still, it gave me a few moments to check my phone. I live dangerously. That's how I roll. God yes. In the same way that in real life, stoned people are really dull and annoying if you aren't stoned yourself, the pot scene really isn't interesting to watch at all. I really don't know why it even exists.
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Post by SamB (was badoerfan) on Mar 28, 2019 23:20:56 GMT
Weighing in on the 'disappointment at the understudy' thing. My heart sank too when I saw Rosalie wasn't on on Monday night. But not because of Jennifer (who I thought was fabulous), but because it means that we're also missing Tick Tock. Which I think is one of the best parts of the show. Such a shame we have to lose it whenever Rosalie isn't on.
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Post by SamB (was badoerfan) on Mar 27, 2019 22:30:02 GMT
One of my favourite activities if I'm at a particularly bad show which is also selling poorly is to count the number of people in the audience.
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Post by SamB (was badoerfan) on Mar 27, 2019 22:12:23 GMT
I don't normally post things like this, but having visited two theatres in the last couple of days (and seen two excellent productions), I was struck by the difference in drinks prices - or more specifically wine prices.
At the Gielgud on Monday, £5 for a 175ml glass of wine (or £6 for the 'better' ones). And the glass of rose I had was perfectly decent. At the Phoenix last night, £9.40 for a 175ml glass of wine! (or rather, £0 for no wine, as I refused it when I was told the price, as there were no price lists to be seen)
£9.40! I expect a theatre to be at the higher end of the price range, but that's extortionate. I assume it's a group thing, as I remember the wine being similarly reasonable at the Victoria Palace and similarly overpriced at the Apollo Victoria. Fingers crossed the next thing I want to see is at a DMT theatre!
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Post by SamB (was badoerfan) on Mar 27, 2019 21:28:18 GMT
"If you book in the next 48 hours, you can get two best tickets for only £48! Simply follow the booking link below, or call the Box Office on 08444 930 650 and quote VIOLET48END to claim this discount on any performance. This discount expires at 23:59 on Wednesday 27th March, so don't miss out!". Thank you for this. Booked for Friday night.
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Post by SamB (was badoerfan) on Feb 26, 2019 22:06:29 GMT
People leaning forward in restricted view seats is often a problem, as we've discussed many times, but I think this is the first time I've seen a theatre/booking site encourage it in seats where there's people behind who'll be blocked by it (as opposed to slips etc where it's less of an issue).
(sorry, I didn't realise that was going to be quite so massive, is there any way to size it down?)
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Post by SamB (was badoerfan) on Feb 14, 2019 22:32:44 GMT
Anyone have a photo or opinion of the view from the £20 Grand Circle slips? The view is fine for £20, side nearest you cut off so can't see the balcony. Not very comfortable and I wouldn't sit there for the first viewing but I'll be there on Saturday for my 6th time (3rd in G/C Slips!) I'd agree, decent enough view for the money. Try and get the ones further from the stage (closer to the rest of the seats) if you can, the view gets worse as you go forward. And bear in mind it's one long (quite comfortable, padded) bench, but with no actual seat numbers on it, so get there first to claim your place!
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Post by SamB (was badoerfan) on Feb 13, 2019 22:25:11 GMT
Fopp at Covent Garden is still open.
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Post by SamB (was badoerfan) on Feb 10, 2019 18:34:04 GMT
On Karma it tends to be specific stuff. The independent pizza place next to my old work was on it, we used it loads, and got plenty of good stuff and half price.
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Post by SamB (was badoerfan) on Feb 7, 2019 21:44:19 GMT
Last night was my first time seeing the new cast. A comment on Royal Circle Slips A1. An excellent view - of half the stage. I suspect A4 sees a bit more due to the angle. I'm surprised the Royal Circle slips are priced as they are. For all you technically got an upgrade from your Upper Circle slip seat, I do think the view is better from up there. A1 is cheaper than the four seats next to it, but still.
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Post by SamB (was badoerfan) on Feb 5, 2019 20:22:16 GMT
Bit annoyed. Booked a while ago, knowingly, for a restricted view seat. Collected ticket and asked if there was any chance of moving to an unrestricted view single seat - having seen there were swathes of empty seats still for sale earlier today. Sheepishly I’m told there’s nothing available with a front of awkwardness. I’m not annoyed my request was declined, don’t mind that, but as an ATG Theatre card holder at an ATG venue I don’t like being lied to. Not sure why I was made to feel as if I was being unreasonable. Need to shake this now before the show starts and I remain in a bad mood so just venting. Were there lots of empty seats once you got in? I've often seen plans full of empty seats when I've checked in the afternoon, only to get there and find it almost completely full, obviously due to papering. That might be why they couldn't/wouldn't move you?
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Post by SamB (was badoerfan) on Jan 26, 2019 15:14:09 GMT
I always think it must be worse to look out at a half-empty theatre.
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Post by SamB (was badoerfan) on Jan 26, 2019 15:06:08 GMT
Yelling, ' turn off yr ******* Phone' quite loud would have made you feel better. But you would prob have had to enjoy the rest of the show from the pavement outside. That's the problem. Like being at school, we need the teacher to be in control. Where was the usher? Too far away to get their attention, sadly, at least not without making even more of a disturbance.
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Post by SamB (was badoerfan) on Jan 20, 2019 0:06:42 GMT
Woman in front of me at Company the other night, holding her phone on her lap. Every couple of minutes, the screen lights up, catching my eye every time. I resolved to sit a bit lower in my seat, from where it wasn't in my eyeline.
But then she gets a notification, which of course makes the screen come on again - and not only that, makes some light on the phone flash too! A couple of minutes it happens again, and she glances embarrassedly at her friend next to her, but makes no move to put it away. However, it was during applause after one of the songs, so I took the opportunity to lean forward and say, politely but firmly, "that's really distracting, please can you put it away?" She looks to the friend, rolls her eyes... AND PUTS IT AWAY.
However, the price of that victory is that I'd got myself worked up - not a lot, just a little, but enough that I couldn't quite relax and get into the show at all during the first half.
I can't decide which would have been worse - saying nothing, and getting distracted by it lighting up repeatedly and getting annoyed and worked up by that, or getting myself worked up by the mini-confrontation.
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Post by SamB (was badoerfan) on Dec 20, 2018 21:10:51 GMT
Fun Home is told in flashbacks, but not linearly in order.
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