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Post by ncbears on Jun 19, 2017 15:28:59 GMT
Update: The seat(s) did not make it back on to the website. I phoned Mackintosh and had a lovely chat with Peter who found the seat and completed the transaction. He was very nice, accommodating and helpful - even though as I was buying for my spouse, he asked to speak with her to complete the transaction. (Note: the phone charges may have eliminated the cost savings of "no booking fees" on the Mackintosh website....but I got a better seat, I think.)
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631 posts
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Post by ncbears on Jun 19, 2017 15:31:33 GMT
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Post by demonbarber on Jun 19, 2017 17:40:45 GMT
Hi all.
I'm looking at an offer from Londontheatre.co.uk for a Thursday matinee and it's offering me tickets in stalls row G. However, having checked with Delfont Mackintosh it doesn't show the row as existing at all. Do you think it's safe to go ahead and purchase or avoid?
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Post by Steve on Jun 20, 2017 12:08:10 GMT
Saw this Saturday night, and loved it. A unique show, a happening, a history lesson, a musical performance, a chance to see a Broadway great give a powerfully dramatic performance! Some spoilers follow. . . Featuring a fictional recreation of one of Billie Holliday's last performances, the drama of the legendary singer's sad descent into addiction and mediocrity means that in terms of musical performance, this starts as Audra McDonald at 60 percent (taking her show last year at Leicester Square Theatre as a measure of the full incredible Audra) and goes downhill from there. There were walkouts towards the end of this show, and I attribute that to people who booked to see top-of-her-game Audra but got bottom-of-the-hill Billie. The walkouts were certainly nothing to do with the end time, as we were out of there by 9:20pm, something that will make short-show fanatics brim with glee. When I arrived at 7:40pm, I was thrilled at the unexpected casting of Tyrone Huntley in the play, sitting stage right in the chair closest to the performance space, but by 7:45pm, I had wised up that he was actually an audience member. That didn't stop me watching him, of course, and he started the show veiled in the mere glow of admiration, which expanded to a fully awed beam of bedazzlement, proceeded through a darkening gloomy realisation of the horrors of Billie Holliday's life experience, before brightening again for an effusive standing ovation for the astounding dramatic performance by Audra McDonald that resurrected Billie Holliday from the dead. Huntley's experience was my own, though mine was also coloured by a distinct sense of deja vu, relating to an experience I had at Brixton Jamm 5 years ago. Then I went to see a solo Pete Doherty perform his Libertines hits, and he was a mess to start with and an even more massive mess to finish with, after consuming copious substances, at least one of which did not appear to be alcohol. The sheer brilliance of his songwriting and performance brio were present, but behind the murk of befuddled and dazed substance abuse, and periodically receded and reemerged from behind that cloud. There was a predatory atmosphere, it being unclear whether the audience were cheering for Doherty to succeed or to fail, whether we were more excited by his music or his notoriety. But the sense of being at a happening was there, as if this were performance art, a performance of a performance, full of contradiction, whereby the better the show was in one way, the worse it became in another. That is what this show felt like, without the predation, but with still more levels, a performance of a performance of a performance. The audience cheered at the sight and sound of Audra McDonald, but she didn't give them Audra, only Billie, and as Billie came into focus, some audience members were still more thrilled, while others seemed dejected. As I said before, there were a number of walkouts. The history lessons of the show somewhat lessened the realism, in that noone could really have this much to say about their life while performing in concert, but I learned a lot. One of my favourite passages related Holliday's experience pertaining to the inaccessibility of bathrooms for black women in a time of segregation, a topic also highlighted recently in the movie "Hidden Figures." What both that movie and this show get right is in blending beautifully the comic and tragic aspects of history in their storytelling. Overall, I was blown away by the show. While I didn't enjoy the music as much as I enjoyed McDonald's own concert last year, I learned about and felt much for Billie Holliday, and particularly enjoyed the many different ways of thinking about and experiencing the show. 4 and a half stars  |
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Post by Deleted on Jun 20, 2017 12:23:52 GMT
Hi all. I'm looking at an offer from Londontheatre.co.uk for a Thursday matinee and it's offering me tickets in stalls row G. However, having checked with Delfont Mackintosh it doesn't show the row as existing at all. Do you think it's safe to go ahead and purchase or avoid? I don't know whether you're looking at a legitimate agent but the Delfont Mackintosh website is selling row G stalls as the front row of regular seating, behind the table seating. For some reason, there isn't any label on the row but you can see it's row G by clicking on any seat for sale. (Or you could guess that it's G as it's in front of H). |
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Post by macksennett on Jun 21, 2017 18:43:28 GMT
Are the stage seats restricted view? I'm worried now as from the production pics it looks as if you have a good view of Audra's back...
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Post by impossibleprincess73 on Jun 21, 2017 19:49:01 GMT
I sat in the box overlooking the stage seats and all I can say is that some seats are definitely better than others. TBH I think the first table on either side of the stage seemed to be the only ones to get a good view, but others who have sat on the stage seats may have a different opinion.
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Post by Deleted on Jun 22, 2017 11:37:17 GMT
I've never understood why directors go for on-stage seating and then almost completely forget those people when directing the show other than an occasional "oh gosh, forgot you were there, hello". I'm guessing the ticket prices aren't 20% of the full price stalls seats to compensate?
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Post by Deleted on Jun 22, 2017 11:50:27 GMT
Um, premium and top non-premium in fact, Ryan, plus the fun of checking bags and coats into the cloakroom as they are not allowed on stage. Oh, that's just daylight robbery. No wonder Cameron Mackintosh is so rich.  |
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Post by Deleted on Jun 22, 2017 12:11:12 GMT
But do you get free popcorn?
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Post by n1david on Jun 22, 2017 12:16:39 GMT
No, but you do get a free glass of champagne (according to my email confirmation)
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Post by tal on Jun 22, 2017 12:47:20 GMT
I got a ticket in the TodayTix lottery yesterday and sat on stage.
If you are sitting in one of the front tables on either side of the stage, you will be fine. However, the other tables do have a restricted view, in some cases even very restricted. I sat in one of the front tables stage right (table 5), and the view was terrific. There was only one scene in which I could not see Audra's face, and that was when she sits on the stool in the corner (only lasts for a couple of minutes). Audra does interact a bit, but I did not get any complimentary drinks (maybe because it was a day seat, but I am not sure). As a matter of fact, I was told that if I wanted to go to the toilet or get any programs or drinks, I should do so before taking my seat on stage.
Overall, an amazing experience, and probably one of the finest performances I have ever seen on stage.
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Post by Jon on Jun 22, 2017 15:37:51 GMT
I've never understood why directors go for on-stage seating and then almost completely forget those people when directing the show other than an occasional "oh gosh, forgot you were there, hello". I'm guessing the ticket prices aren't 20% of the full price stalls seats to compensate? It can work well like This House and there's something thrilling about being on stage. |
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Post by SomeOtherMe on Jun 22, 2017 22:53:37 GMT
I picked up a day seat for the first performance on Saturday and was told that all the day seats are on the stage. As well as the tables, there's a rather strange row of six seats which are sort of tucked away partly behind a wall on stage left, which is where I ended up. Although described to me as bar stools, they were actually high up wooden seats with their backs to the audience. On the plus side, you're not very visible to the audience as you're mostly hidden behind the wall, and you get a good view of the band. But there was also a pillar right in my line of vision which mostly obscured Audra every time she sang at the mic. Luckily only three of the six stools were occupied so it was just about feasible for us to lean at different angles without blocking other people's views. Not a disaster for £20, but if given a choice, the other seats on stage are probably all better.
People who'd brought bottles of water in were also being given glasses and asked to put the bottles away - presumably it didn't quite fit the look they were going for...
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Post by Deleted on Jun 22, 2017 22:58:24 GMT
I love the idea of theatres hiding dayseaters behind a wall.
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Post by Phantom of London on Jun 22, 2017 23:45:46 GMT
Saw this, this afternoon.
***full disclosure***
Out of all genres of music, jazz is the one I loathe and just cannot connect to it, so I do not feel it.
Today was no exception. As we know Audra McDonald is a top performer and it such a privilege to see her in London, doing a legit West End show, instead of a cash in the back pocket concert, then back to the U.S. No ifs and no buts I simply adored her when I saw her in Porgy and Bess on Broadway, she took my breathe away, however today I was breathing normally, I really didn't warm to this, but stick Audra in any other musical and yes I will be a delirious fan boy again.
3 Stars.
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Post by 49thand8th on Jun 23, 2017 16:29:36 GMT
Can anyone tell me what Will Blum's capacity is on the creative team for this?
Thanks!
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Post by Deleted on Jun 24, 2017 19:02:38 GMT
Saw the matinee today from the bar stools on stage - I disagree with previous reports on here, I think they're a great bargain! Yes, you have to keep moving your head to see but you don't miss much at all (and the row was full today and none of us were blocking each other) and you get Audra leaning on the bar and pouring a drink right in front of you, and walking out at the end right past you. Definitely recommended as a cheap dayticket option and I think they get a far better view than most of the other onstage seats! No one was stopped from bringing water bottles onstage, but they'd give you a glass if you asked for one.
As for the show itself, well Audra really is a tour de force, isn't she? Absolutely stunning performance, she was giving it everything and looked completely drained by the end, I have no idea how she does that so many times a week! It's very clear why she won the Tony!
4 stars from me, well worth seeing.
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Post by Deleted on Jun 26, 2017 8:24:09 GMT
Well. It's an enjoyable hour and a half. Audra is terrific and in the talky bits it's so clever of her to play Liza Minnelli playing Billie Holiday.
Cute dog too. It steals the show.
Could have done with a tap routine though.
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Post by wickedgrin on Jun 27, 2017 0:29:16 GMT
Mmmmm....damning with faint praise there Ryan? Would you recommend going to see this for a reasonable price?
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Post by Deleted on Jun 27, 2017 8:16:25 GMT
Mmmmm....damning with faint praise there Ryan? Would you recommend going to see this for a reasonable price? Yes sure. If you like Audra she's terrific and some of it is very funny plus it's a nice treat to see her acting on stage rather than concerts. Vocally, it's a very good impression and Audra does drunk very well. It may just be me but when she's talking she sounds just like Liza - "did you know my momma was Judy Garland? That's right, Dorothy!", "and so I said to dear Bobby, that's Bob Fosse, oh I miss him so much", "Halston!" - which I found most distracting. I don't think I'd sit on the stage unless I was sat around the tables directly on each side of Audra. While you're within spitting distance of La McDonald, I would guess that the rest really probably spend most of the time staring at her back most of the time. Most of the interaction was with those two tables and the couple of tables at the front of the stalls on the left hand side (if you're looking at the stage), particularly the one right at the bottom of the stairs leading to the stage. To be honest, not much happens and Audra is pretty much front and centre for most of the show so as long as you can see the front of the stage, it's probably a good view. |
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Post by schuttep on Jun 27, 2017 9:39:14 GMT
This is a superb version of a concert Lady Day gave later in life. By this time, Lady Day's a star, and she knows it. She's also a drunk, and she knows it. She's also a bully but turns around her negative moods on a dime.
Audra does a superb channelling of LD, including the voice, which I believe was once compared to burnt molasses. The songs are mostly well known (I even knew the Bessie Smith Pigfoot) and AM does drunk very well, including a very believable (and therefore shocking) stumble down stairs.
Lady Day's story is told (not in a linear fashion) in the inter-song banter, which makes it fascinating and unpredictable.
1.5 hours of pure bliss for me.
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Post by wickedgrin on Jun 27, 2017 9:58:01 GMT
Unless you win the Today Tix lottery for £20 though, the stage seats, stalls table seats and front row stalls are £99.50 on the Delfont Mackintosh website! Too expensive for me.....
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Post by TallPaul on Jun 27, 2017 11:02:14 GMT
Others will almost certainly know more, but I'm sure the stage seats/tables have shot up from 'just' 70-something.
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Post by partytentdown on Jun 27, 2017 11:25:50 GMT
Saw this last night and sneakily move down from the top level to the middle as it was half empty. Quite pleased we weren't on stage as many seemed to have a view of her back. I think I would have got more out of this if I knew Ms Holliday's songs a little better but overall it was enjoyable.
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