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Post by Deleted 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 Deleted 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 Deleted 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 Deleted 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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Post by Deleted 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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Post by wiggymess on Jan 26, 2017 10:33:24 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. Perfect thanks. Will wait and see if any further in become available, if not I'll just chance that Escaped Alone takes place mainly in the centre of the stage... Thanks |
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Post by jadnoop on Jan 26, 2017 10:43:03 GMT
Does anyone know how the Royal Court Friends scheme works? The website mentions that you get access to their "£12 Monday tickets", but are these different to the £12 cheap balcony tickets that seem to be listed for most shows?
At the moment I'm only intending to see one show at the Royal Court this season, but I'm going with quite a few people so if the Friend scheme provides discounts on better seats then the saving might work out better than paying full price without membership...
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Post by theatrelover123 on Jan 26, 2017 10:46:04 GMT
As RC member you tend to have access to lots of £12 seats throughout the theatre. When I booked for the recent season when it opened I bought tickets in the middle of the stalls for most shows.
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Post by Deleted on Jan 26, 2017 10:46:13 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. Perfect thanks. Will wait and see if any further in become available, if not I'll just chance that Escaped Alone takes place mainly in the centre of the stage... Thanks It does. The set is pretty stationary and the performers don't exactly hide in the furthest upstage corners. |
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Post by jadnoop on Jan 26, 2017 10:48:16 GMT
As RC member you tend to have access to lots of £12 seats throughout the theatre. When I booked for the recent season when it opened I bought tickets in the middle of the stalls for most shows. Thanks very much for such a quick response. Sounds like a great deal so I'll definitely give it a go. |
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Post by wiggymess on Jan 26, 2017 10:49:59 GMT
Perfect thanks. Will wait and see if any further in become available, if not I'll just chance that Escaped Alone takes place mainly in the centre of the stage... Thanks It does. The set is pretty stationary and the performers don't exactly hide in the furthest upstage corners. Lovely  thanks! |
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Post by theatrelover123 on Jan 26, 2017 10:50:01 GMT
As RC member you tend to have access to lots of £12 seats throughout the theatre. When I booked for the recent season when it opened I bought tickets in the middle of the stalls for most shows. Thanks very much for such a quick response. Sounds like a great deal so I'll definitely give it a go. You dont however seem to get cheaper tickets for the Upstairs shows. And the Mondays might now be sold out or near to sold out for the Downstairs shows so may not reflect how it looks at the beginning of season opening of course. |
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Post by wiggymess on Jan 26, 2017 10:50:25 GMT
As RC member you tend to have access to lots of £12 seats throughout the theatre. When I booked for the recent season when it opened I bought tickets in the middle of the stalls for most shows. Only on Mondays, though?! |
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Post by theatrelover123 on Jan 26, 2017 10:51:56 GMT
As RC member you tend to have access to lots of £12 seats throughout the theatre. When I booked for the recent season when it opened I bought tickets in the middle of the stalls for most shows. Only on Mondays, though?! Yes. Only Mondays. |
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Post by jadnoop on Jan 26, 2017 10:54:51 GMT
Thanks very much for such a quick response. Sounds like a great deal so I'll definitely give it a go. You dont however seem to get cheaper tickets for the Upstairs shows. And the Mondays might now be sold out or near to sold out for the Downstairs shows so may not reflect how it looks at the beginning of season opening of course. Ah, thanks for the extra info. The show I'm going for is B. I don't know yet if it's upstairs or downstairs, but from what I can tell, the tickets haven't been put on sale yet so finger crossed I'll be able to get decent seats! |
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thanks!