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Post by AddisonMizner on Sept 16, 2017 13:02:00 GMT
Are there any obstructions in this theatre? Is the back of the stalls really far back? If you are sat at the sides, will you just see backs?
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637 posts
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Post by AddisonMizner on Sept 16, 2017 14:09:47 GMT
I've just bit the bullet, and booked for this. I'm really excited! 2018 is turning out to be the year of Jeanine Tesori, having already booked FUN HOME at the Young Vic as well. All I need now is for a production of VIOLET to materialise.
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Post by Deleted on Sept 16, 2017 18:25:48 GMT
Are there any obstructions in this theatre? Is the back of the stalls really far back? If you are sat at the sides, will you just see backs? Personally I think it's a nice theatre. Good rake, decently comfortable seats, not too huge. Expect a drop in quality if you're taking cheaper seats (there are some at the sides where you ordinarily have to lean and still lose part of the stage, but those should be much better with a thrust configuration), but visibility should be fine in most of the auditorium. |
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Post by Deleted on Sept 16, 2017 19:15:19 GMT
Yes, small theatre. Even the back of the circle is fairly close to the stage. Only issues are that the back of the stalls has high seats with a foot rest, and leg room in the circle is restricted. My usual preference is the back row of circle seats with a gap next to them as there's a pillar in front of the "missing" seat (if you see what I mean!) as you can stretch your legs to the side and they are cheap. But changed layout for this show means these don't exist. So aisle seats on the back row probably best
But also since matinees are cheaper, top price matinee tix are £5 more than bottom price evening tix!
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Post by anthony40 on Sept 16, 2017 19:35:01 GMT
This show has been on my radar for ages and the theatre us about a 20 min walk from where I live.
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Post by Rory on Feb 9, 2018 7:15:20 GMT
Baz suggests that there could be a West End transfer after the Hampstead run, courtesy of Adam Speer from ATG. Could it go directly to the Harold Pinter after The Birthday Party?
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Post by ali973 on Feb 9, 2018 10:28:43 GMT
I've heard it all before..so many said transfers that never materialized. These reports are losing credibility one right after the other from Hedwig to Groundhog Day, This is a brilliant show and I suppose it has good chances since it's already in London, but Caroline Or Change does not have commercial hit written all over it. It has no big names and a show set against the civil rights movement in a Jewish household in the south does not seem to be right for the West End crowd. A fringe venue seems to be the most appropriate place for a show that requires a discerning audience.
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Post by Deleted on Feb 9, 2018 10:37:09 GMT
I agree it's not a show that screams 'commercial hit' it's a bit of a hard slog of a piece (totally rewarding, but it's not an easy sit back and enjoy kind of evening) and as Ali says, no 'names' attached to it. Anecdotally too Kushner isn't that much of a fan of pushing for commercial productions- he hates the gamble element of it- so again I don't think it's something 'Caroline' needs.
It's also a piece suited the the size of a fringe venue as well, and I'd be happier to see it have a really good run at the Hampstead then come back again in another 10 years or so. Some shows benefit from a less is more approach.
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Post by dlevi on Feb 9, 2018 10:45:25 GMT
Anecdotally too Kushner isn't that much of a fan of pushing for commercial productions- he hates the gamble element of it- so again I don't think it's something 'Caroline' needs. Where'd you hear that? Like any playwright who has achieved great critical success but is less commcercially successful than many of his contemporaries CRAVES commercial acceptance. ( the one thing he doesn't have). When Caroline initially premiered off-Broadway it was Kushner who led the charge to corralling producers to move it to Broadway. I don't believe he's taking the lead this time, but I do believe that part of the plan of the Hampstead transfer was to incorporate a move to the West End should the acclaim (critical and audience) continue at the level it was at Chichester. |
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Post by Jon on Feb 9, 2018 10:47:58 GMT
Given the last commercial transfer of Caroline or Change was a flop, I think transferrring to the West End would be risky.
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Post by Deleted on Feb 9, 2018 10:53:31 GMT
Anecdotally too Kushner isn't that much of a fan of pushing for commercial productions- he hates the gamble element of it- so again I don't think it's something 'Caroline' needs. Where'd you hear that? Like any playwright who has achieved great critical success but is less commcercially successful than many of his contemporaries CRAVES commercial acceptance. ( the one thing he doesn't have). When Caroline initially premiered off-Broadway it was Kushner who led the charge to corralling producers to move it to Broadway. I don't believe he's taking the lead this time, but I do believe that part of the plan of the Hampstead transfer was to incorporate a move to the West End should the acclaim (critical and audience) continue at the level it was at Chichester. I hate to be 'that person' but the unfortunate answer (for you) is 'when he said it to me himself during an in-depth interview about his work' |
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Post by dlevi on Feb 9, 2018 11:16:30 GMT
Where'd you hear that? Like any playwright who has achieved great critical success but is less commcercially successful than many of his contemporaries CRAVES commercial acceptance. ( the one thing he doesn't have). When Caroline initially premiered off-Broadway it was Kushner who led the charge to corralling producers to move it to Broadway. I don't believe he's taking the lead this time, but I do believe that part of the plan of the Hampstead transfer was to incorporate a move to the West End should the acclaim (critical and audience) continue at the level it was at Chichester. I hate to be 'that person' but the unfortunate answer (for you) is 'when he said it to me himself during an in-depth interview about his work' I believe you. But many of our most esteemed creative people have a public persona of not seeking commercial success and being satisfied with their share of critical esteem but privately (and through their various representatives) send quite a different signal. (and the opposite is true of those who are popular commercially but critically reviled (no names oh ok one: Frank Wildhorn) . |
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Post by Deleted on Feb 9, 2018 11:39:44 GMT
I hate to be 'that person' but the unfortunate answer (for you) is 'when he said it to me himself during an in-depth interview about his work' I believe you. But many of our most esteemed creative people have a public persona of not seeking commercial success and being satisfied with their share of critical esteem but privately (and through their various representatives) send quite a different signal. (and the opposite is true of those who are popular commercially but critically reviled (no names oh ok one: Frank Wildhorn) . Oh I'm so glad you believe me. Obviously without the validation of random internet people my entire career and research are totally invalidated. And really? people offer a different public persona to the one they really have. Wow, thanks for the enlightenment I never would have known. So as much as you 'believe me' clearly I'm stupid to believe what I was told, and you were right all along. Got it. |
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Post by BurlyBeaR on Feb 9, 2018 13:20:31 GMT
Merged
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Post by Rory on Feb 9, 2018 14:24:15 GMT
Apologies. I did search for an existing thread but couldn't find one.
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Post by dlevi on Feb 9, 2018 14:26:35 GMT
Oh I'm so glad you believe me. Obviously without the validation of random internet people my entire career and research are totally invalidated. And really? people offer a different public persona to the one they really have. Wow, thanks for the enlightenment I never would have known. So as much as you 'believe me' clearly I'm stupid to believe what I was told, and you were right all along. Got it. Sorry you took my comment as being snarky. I wasn't being snarky. |
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Post by showtoones on Feb 9, 2018 15:57:06 GMT
Until an official announcement is made, it's all hearsay. If there is interest, it will transfer - probably for a limited engagement. Because of the themes of the show I'd say it would transfer over the summer and run through the New Year. A limited engagement and a vehicle for Sharon D. Clark, who is absolutely amazing in all she does.
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Post by alicechallice on Feb 9, 2018 17:50:29 GMT
I believe you. But many of our most esteemed creative people have a public persona of not seeking commercial success and being satisfied with their share of critical esteem but privately (and through their various representatives) send quite a different signal. (and the opposite is true of those who are popular commercially but critically reviled (no names oh ok one: Frank Wildhorn) . Oh I'm so glad you believe me. Obviously without the validation of random internet people my entire career and research are totally invalidated. And really? people offer a different public persona to the one they really have. Wow, thanks for the enlightenment I never would have known. So as much as you 'believe me' clearly I'm stupid to believe what I was told, and you were right all along. Got it. And the "I've had a sh*t week and am going to take it out on all you tossers, because it's Friday" award goes to... |
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Post by Phantom of London on Feb 9, 2018 18:47:41 GMT
There is a performance of this on Good Friday! He He.................given the Hampstead demographic, who would have thought they wouldn’t do a show on Good Friday? |
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Post by Phantom of London on Feb 9, 2018 18:53:14 GMT
Given the last commercial transfer of Caroline or Change was a flop, I think transferrring to the West End would be risky. Did it transfer from the National to the West End? I generally don’t know? i know it bagged the Olivier for best musical, must have been a poor year. |
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Post by Deleted on Feb 9, 2018 18:53:23 GMT
Oh I'm so glad you believe me. Obviously without the validation of random internet people my entire career and research are totally invalidated. And really? people offer a different public persona to the one they really have. Wow, thanks for the enlightenment I never would have known. So as much as you 'believe me' clearly I'm stupid to believe what I was told, and you were right all along. Got it. Sorry you took my comment as being snarky. I wasn't being snarky. Fair enough- it sounded that way to me, but if I was wrong I was wrong! |
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Post by Deleted on Feb 9, 2018 18:53:51 GMT
Oh I'm so glad you believe me. Obviously without the validation of random internet people my entire career and research are totally invalidated. And really? people offer a different public persona to the one they really have. Wow, thanks for the enlightenment I never would have known. So as much as you 'believe me' clearly I'm stupid to believe what I was told, and you were right all along. Got it. And the "I've had a sh*t week and am going to take it out on all you tossers, because it's Friday" award goes to... And the award for needlessly getting involved in something that was nothing to do with you goes to.... Honestly the above was a bit of harmless sarcasm, but do feel free to stick your oar in for no reason. |
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Post by Deleted on Feb 9, 2018 18:59:39 GMT
Given the last commercial transfer of Caroline or Change was a flop, I think transferrring to the West End would be risky. Did it transfer from the National to the West End? I generally don’t know? i know it bagged the Olivier for best musical, must have been a poor year. It didn't- it did a standard length of run in the Olivier, I don't remember any talk at the time of it not doing well but it was over 10 years ago. But it beat Avenue Q, Spamalot and Porgy and Bess in the new musical category...It's an incredible piece of writing, whatever the commercial appeal may or may not be so I guess the voters went on that. en.wikipedia.org/wiki/2007_Laurence_Olivier_Awards |
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Post by Jon on Feb 9, 2018 19:14:05 GMT
Did it transfer from the National to the West End? I generally don’t know? i know it bagged the Olivier for best musical, must have been a poor year. It didn't- it did a standard length of run in the Olivier, I don't remember any talk at the time of it not doing well but it was over 10 years ago. But it beat Avenue Q, Spamalot and Porgy and Bess in the new musical category...It's an incredible piece of writing, whatever the commercial appeal may or may not be so I guess the voters went on that. en.wikipedia.org/wiki/2007_Laurence_Olivier_AwardsThe original Broadway production of Caroline was a flop. The NT production did well though but I think even if this production does well at Hampstead, the West End is a different beast |
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Post by saints on Feb 9, 2018 21:12:46 GMT
Does anyone know where you can listen to the music from this show? Thanks  |
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