4,961 posts
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Post by Someone in a tree on Apr 11, 2019 8:54:08 GMT
Oh okay! Will D 56 be okay? D56 will be a great view of the whole show. You'll be in the middle with the structures to your left and right. Oh thats good can't wait! Is the orchestra loud enough because I always find when they're in a separate room its always toned down a bit Orchestra sound great, never too quiet. Looks to be 1 keys, 2 strings, 3 woodwind, 4 brass, 1 drums and 1 perc. Only slightly niggle is there was a quite a lot of ringing(feedback) with the orchestra around 100hz, which muddied the sound and reduced clarity. I think some of the cast may have struggled with trying to pitch to the orchestra at points, could be a foldback issue there. Fairly sure this'll get ironed out though. Thanks for the band breakdown I'm a bit of orchestration junkie so you've made me very happy I thought Jason Carr did wonders with Sunday and Candide #happydays |
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Post by Deleted on Apr 11, 2019 9:08:19 GMT
D56 will be a great view of the whole show. You'll be in the middle with the structures to your left and right. Orchestra sound great, never too quiet. Looks to be 1 keys, 2 strings, 3 woodwind, 4 brass, 1 drums and 1 perc. Only slightly niggle is there was a quite a lot of ringing(feedback) with the orchestra around 100hz, which muddied the sound and reduced clarity. I think some of the cast may have struggled with trying to pitch to the orchestra at points, could be a foldback issue there. Fairly sure this'll get ironed out though. Thanks for the band breakdown I'm a bit of orchestration junkie so you've made me very happy I thought Jason Carr did wonders with Sunday and Candide #happydays All good. With the orchestra situated in sound booths outside of the auditorium, you can go up and look in through pleixglass pre/post-show. The windows into the main booth were quite an popular attraction during the interval. I'm not sure what the Royal Exchanges policy here is but the venue is open all day to the public, so theoretically you could turn up and watch the orchestra. Whether they'd allow that or not I'm not sure. Now that I've thought about it I'm considering doing it one afternoon. |
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3,333 posts
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Post by Dr Tom on Apr 11, 2019 9:46:02 GMT
When did the Royal Exchange start charging nearly £50 a seat?!! I assume they've had to put the price up for this because they've had to take out a load of seats. They've had no problems selling the place out. What will be interesting is if the revised pricing remains when they go back to their usual seating layout. |
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Post by theatre241 on Apr 11, 2019 9:53:49 GMT
new seats released for 18th April if anyone is wanting to go! Stalls and top tier row of about 4
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Post by Deleted on Apr 12, 2019 9:03:46 GMT
Reviews trickling in:
Manchester Evening News 4****
WoS 4****
Telegraph 3***
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Post by theatre241 on Apr 12, 2019 9:47:00 GMT
Okay. Not too bad haven't seen it so I don't know if these reviews are right
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Post by Deleted on Apr 12, 2019 11:01:18 GMT
Doesn’t matter what any critics think.What qualifications do they have?It matters what each piece of theatre does for each of us personally.Bob Dylan once answered critics by saying ‘Don’t criticise what you don’t understand’.On the issue of critics and their cutting remarks,Ambrose Bierce once said about reviewing a book,’The problem with this book is that the covers are too far apart’. Ouch!
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Post by Deleted on Apr 12, 2019 12:37:58 GMT
On the one hand, maybe it doesn't matter what the critics think because lord knows we all enjoy shows a different amount and something that doesn't work for one person may well be the perfect piece of art to sing to another person's soul.
But on the other hand, it's unpleasantly dismissive and sneery to suggest that critics don't understand a show or know what they're talking about just because they don't have some imaginary official criticism qualification though.
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559 posts
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Post by danieljohnson14 on Apr 12, 2019 12:45:15 GMT
You can fully understand a piece, both in concept and context, and still not like it as a whole. You can even appreciate it for what it attempts and still dislike it as a piece on its own.
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Post by welsh_tenor on Apr 12, 2019 12:55:21 GMT
Wicked is a case in point, the critics hated it - but those critics were probably all middle aged white men at the time so not target market!
It’s a huge success because it has a clear market, and a market that continues to grow as younger people discover theatre and its story.
Yes I’m sweeping with my generalisations, don’t @ me it’s my opinion...
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Post by Deleted on Apr 12, 2019 12:58:19 GMT
While I quite agree that one should make up you're own mind about a show, a critic's qualification is exactly that- seeing and critically assessing a lot of theatre. Why on earth does having a personal preference/critically assessing something mean they don't understand something? I see/read plenty of thhings I understand perfectly well but dislike. One of these things does not equate to the other.
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Post by sparky5000 on Apr 12, 2019 13:35:50 GMT
Reviews trickling in: Manchester Evening News 4**** WoS 4**** Telegraph 3*** 4* from The Guardian and The Stage too |
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559 posts
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Post by danieljohnson14 on Apr 12, 2019 13:37:30 GMT
I could see it maybe transferring to somewhere like the Gillian Lynne Theatre, as we've seen it do an in-the-round configuration before. A limited run there could work!  |
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Post by Deleted on Apr 12, 2019 13:47:08 GMT
Glad the reviews are predominantly positive but so what if they weren’t? I have never allowed a bad review to put me off from seeing something I was excited to see.I’ve produced/directed countless am-dram shows for over 30 years and been in competitive Drama festivals all over the country.Some reviews have been amazing,some awful...so what,either way?Sometimes we have won awards and sometimes not.I have always had an artistic vision in mind and maybe sometimes the concept hasn’t worked or been misunderstood.It’s just a first-world problem.Treat triumph and disaster the same,I say... but frame the good reviews and bin the bad! Lol
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Post by dontdreamit on Apr 12, 2019 13:50:50 GMT
Glad the reviews are predominantly positive but so what if they weren’t? I have never allowed a bad review to put me off from seeing something I was excited to see.I’ve produced/directed countless am-dram shows for over 30 years and been in competitive Drama festivals all over the country.Some reviews have been amazing,some awful...so what,either way?Sometimes we have won awards and sometimes not.I have always had an artistic vision in mind and maybe sometimes the concept hasn’t worked or been misunderstood.It’s just a first-world problem.Treat triumph and disaster the same,I say... but frame the good reviews and bin the bad! Lol I went and saw Knights of the Rose last summer after it has got a 0 star review. I was intrigued about how that had been possible! To be fair, it had also been in my list of possible things to see before the reviews came out 🙂 |
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Post by Deleted on Apr 12, 2019 13:56:10 GMT
Absolutely loved KOTR,but what do I know? I’m not a published critic.Everyone I recommended it to,hated it without exception and I am talking double figures...oh dear!
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559 posts
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Post by danieljohnson14 on Apr 12, 2019 13:59:16 GMT
Oh @ryan loved Knights of the Rose!
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Post by Deleted on Apr 12, 2019 14:00:52 GMT
I could see it maybe transferring to somewhere like the Gillian Lynne Theatre, as we've seen it do an in-the-round configuration before. A limited run there could work! If it was to transfer, which I can't really see, this would really work in the Roundhouse in Camden. Given that used to be a theatre (of sorts) in times gone by it would be great to see that return temporarily to one of its previous guises. They could do a limited run of 1 or 2 weeks with temporary tired seating and it would probably be a huge success, the set would work really well in there. |
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Post by danb on Apr 12, 2019 14:30:17 GMT
I could see it maybe transferring to somewhere like the Gillian Lynne Theatre, as we've seen it do an in-the-round configuration before. A limited run there could work! If it was to transfer, which I can't really see, this would really work in the Roundhouse in Camden. Given that used to be a theatre (of sorts) in times gone by it would be great to see that return temporarily to one of its previous guises. They could do a limited run of 1 or 2 weeks with temporary tired seating and it would probably be a huge success, the set would work really well in there. Love the Roundhouse! |
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Post by Deleted on Apr 12, 2019 15:33:53 GMT
Oh @ryan loved Knights of the Rose! Oh I did! It was absolutely hilarious! |
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Post by theatre241 on Apr 12, 2019 20:02:31 GMT
Anymore reports on tonights performance? Any day seat reports?
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Post by Deleted on Apr 12, 2019 21:12:43 GMT
Yes,KOTR was like Spinal Tap meets Horrible Histories meets Fawlty Towers.Totally out of control! The programme notes were akin to War and Peace in trying to explain literary references in the show.Bonkers! How the hell did the cast keep a straight face throughout?
As for WSS, is there capacity for it to extend as tickets have sold like hot-cakes?Or could it make a return visit like Follies at the Nash?
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Post by theatre241 on Apr 12, 2019 22:01:58 GMT
I think there is something going in straight after on the dates but it might do a return!
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581 posts
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Post by princeton on Apr 12, 2019 22:48:14 GMT
It's definitely not going to get a London transfer - as the West End rights are currently unavailable - all linked to the forthcoming Broadway revival. In fact the rights don't allow a professional production within 100 miles of central London - so Curve Leicester must have managed to squeeze in under the wire (either getting their licence before the restriction was put in place - or by virtue of the drive from central London to the theatre being just a couple of miles over the 100 limit)
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5,142 posts
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Post by TallPaul on Apr 13, 2019 8:34:13 GMT
I think there is something going in straight after on the dates but it might do a return! WSS ends on 25 May, and Hobson's Choice starts on 31 May. |
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