3,306 posts
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Post by david on Sept 16, 2021 10:24:08 GMT
Booked a ticket for next month in the Royal Circle a few days ago.Nice and easy except it’s for the wrong Sunday matinee! ☹️Tried the customer service number on the website to try and get it changed. Unfortunately no one seems to be answering the phones and I get stuck listening to the music. Has anyone managed to get through to the customer service team? I’ve sent emails but no joy. It’s probably going to be a case of keep trying via phone as I won’t be in London beforehand to get to the box office. If nothing else, it’s taught me always check the booking details before pressing the buy button! Thanks for the contact info. All sorted now with the correct date. It is much appreciated. |
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Post by danb on Sept 16, 2021 10:27:52 GMT
Booked a ticket for next month in the Royal Circle a few days ago.Nice and easy except it’s for the wrong Sunday matinee! ☹️Tried the customer service number on the website to try and get it changed. Unfortunately no one seems to be answering the phones and I get stuck listening to the music. Has anyone managed to get through to the customer service team? I’ve sent emails but no joy. It’s probably going to be a case of keep trying via phone as I won’t be in London beforehand to get to the box office. If nothing else, it’s taught me always check the booking details before pressing the buy button! Thanks for the contact info. All sorted now with the correct date. It is much appreciated. You’re very welcome. Enjoy it! |
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5,142 posts
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Post by TallPaul on Sept 16, 2021 10:53:04 GMT
Try and concentrate in future, david. It's up there ⬆️ for thinking, and down there ⬇️ for dancing 🕺. 🙂 |
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19,670 posts
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Post by BurlyBeaR on Sept 16, 2021 16:05:10 GMT
I’m afraid it’s a generous ⭐️⭐️⭐️ and a healthy dose of “meh” from me. Literally nowt happens for the first 40 minutes, the lighting is dark and the colours very muted. I know the castle is supposed to be dark and gloomy but this is Disney, I want it to pop off the stage. That happens when Let It Go kicks in and the icy scenes are much better but sorry i didn’t think they lived up to the hype in this very thread and whilst pretty I wasn’t blown away. As for the bridge, it didn’t do anything and the actors didn’t do anything on it. It was…a bridge.
The leads are fine, this is the first time I’ve really appreciated Sam Barks’ voice because it’s flawless throughout. I still don’t think she’s a great actor from the few things I’ve seen her in. I’ve never found her to be particularly warm or engaging and it’s the same here but it fits with the part so good luck to her.
I liked the choreography and found it reminiscent Prince of Egypt in many respects. Speaking of which, if you want to see an animated movie musical on stage, for me PoE knocks Frozen into a cocked hat.
ETA : the audience…. No comment.
ETA 2 : Best bit = Hygge
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527 posts
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Post by vabbian on Sept 16, 2021 16:12:00 GMT
2 stars
Like the other Disney musicals in the west end, it's intended for children - so know what to expect. Be prepared for constant talking from the audience (children) for the whole show.
Sam's voice was great
The set for the castle was great
Got a day seat for £20 (meant to be £125), so that was also great
Other than that - very low brow & forgettable
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Post by aingidh on Sept 17, 2021 17:54:12 GMT
I saw it last night and loved every minute of it. The West End version is by the far the superior, the grandeur of Drury Lane suits the show so well and the special effects felt genuinely magical to me. Sam and Steph made a fantastic leading duo and the cast overall were strong. So much energy from the ensemble.
I feared the worst audience-wise due to it being a family-oriented show and had a lot of kids around me, but they all behaved immaculately and were immersed in the production. Lots of applause in all the right places - Let It Go dress reveal, certain moments with projections, and Sven’s entrance. The first few bars of Let It Go got some excited gasps from most of the audience which really warmed my heart. Makes me so happy seeing kids get excited for theatre at a young age.
Sat in the front row of the grand circle on the King’s side. View was fantastic for the price (£30), could see most of the stage and it definitely helps being higher up as you can fully appreciate the spectacle of it.
Will definitely be back! The escapism this show provides is just fantastic
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Post by Deleted on Sept 18, 2021 9:33:54 GMT
Something is I hate from the yt clips. Is that why are the costumes direct copies from the film. I have seen clips of beauty and the beast and that was different from the film? the lion king's were very unique and authentic , mary poppins were great, aladdin's were excellent . so why the copy?
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Post by fiyerorocher on Sept 18, 2021 10:14:52 GMT
Something is I hate from the yt clips. Is that why are the costumes direct copies from the film. I have seen clips of beauty and the beast and that was different from the film? the lion king's were very unique and authentic , mary poppins were great, aladdin's were excellent . so why the copy? They look similar so the audience - especially the kids - can recognise the characters instantly, I presume. But they're fantastic costumes - so detailed and truly a testament to the skills of the people who translated them from animation to reality. And there are also some changes. Elsa's jumpsuit in particular is amazing!! |
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Post by Deleted on Sept 18, 2021 11:35:41 GMT
yes but lion king, aladdin, even mary poppins and beauty were all different to the films
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Post by fiyerorocher on Sept 18, 2021 11:39:17 GMT
yes but lion king, aladdin, even mary poppins and beauty were all different to the films They all keep the iconic, recognisable looks. Belle always has her yellow dress, for example. It's a balance of having the characters be identifiable for the audience and really making the costumes shine on stage in a way they just can't in animation. Frozen does a fantastic job, imo. There are obviously going to be changes because animation doesn't have to comply with costume budgets or the laws of physics or reality. Lions and genies have to be translated to stage in a way other that copy and paste. |
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1,470 posts
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Post by mkb on Sept 18, 2021 11:40:37 GMT
In attempting to salvage a night out in the West End, without wasting hotel and train costs following the very late cancellation of Back to the Future, we found ourselves hunting for a replacement show. We haven't seen &Juliet, but that pretentious ampersand and the marketing made us fairly confident this was one for the Hamilton crowd and we still have painful memories of our trip to that. Not ready to do a repeat viewing of something already seen, that left just one other option. And so we found ourselves last night in front row stalls seats at Frozen, just to the left of the conductor. The stage floor is in a horizontal plane rather than the usual gentle slope forwards. The front row is slightly below stage height: if you raise yourself up about three inches, you can see everything. (I'm 5'8".) For that reason, I thought this row should have been in the £79.50 price band rather than the £89.50 we paid. I couldn't work out who this show is for. The attention of most of the kids around us was lost after half an hour, and they fidgeted and looked tired and bored. One precious little thing in the centre of row C made a nuisance of herself throughout thanks to an ineffectual mother/guardian. Teenagers would regard the show as completely un-sick or whatever the current yoof vernacular is. And there's insufficient wit and charm to captivate adults. But there is spectacle. And in bucketloads. In fact, the Act 1 finale, blink-and-you-miss-it, quick change, is so good it was almost worth the price of admission just to see that. Almost. There is just one nod to traditional Broadway theatre song and dance by way of Hygge, early in Act 2. This was the musical highlight for me. The rest of the score was largely forgettable, save for the hit from the film, which I've never been fond of. The realisation of the reindeer is quite magical, but pity the performer inside, and there is some delightfully realised stage craft. The sound design and fidelity is adequate but way below the new benchmark set by Cinderella. By contrast, the lighting and effects here are stunning. Hygge establishes that we're set in Denmark, or some fairy tale equivalent, so the decision to have characters speak with an American accent seemed bizarre and unnecessary. This doesn't fully explain why Anna is pronounced "Ahr'nah" and Hans "Hons", both of which I found particularly grating. Another issue is that Hans has a personality transplant, from dewy-eyed, lovelorn, geeky, young man, to cunning, arch villain, that stretches all credulity. In conclusion, five stars for the rather wonderful renovated Drury Lane, but three stars for this show. Act 1: 19:03-20:03 Act 2: 20:26-21:15 |
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8,103 posts
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Post by alece10 on Sept 18, 2021 11:46:38 GMT
In attempting to salvage a night out in the West End, without wasting hotel and train costs following the very late cancellation of Back to the Future, we found ourselves hunting for a replacement show. We haven't seen &Juliet, but that pretentious ampersand and the marketing made us fairly confident this was one for the Hamilton crowd and we still have painful memories of our trip to that. Not ready to do a repeat viewing of something already seen, that left just one other option. And so we found ourselves last night in front row stalls seats at Frozen, just to the left of the conductor. The stage floor is in a horizontal plane rather than the usual gentle slope forwards. The front row is slightly below stage height: if you raise yourself up about three inches, you can see everything. (I'm 5'8".) For that reason, I thought this row should have been in the £79.50 price band rather than the £89.50 we paid. I couldn't work out who this show is for. The attention of most of the kids around us was lost after half an hour, and they fidgeted and looked tired and bored. One precious little thing in the centre of row C made a nuisance of herself throughout thanks to an ineffectual mother/guardian. Teenagers would regard the show as completely un-sick or whatever the current yoof vernacular is. And there's insufficient wit and charm to captivate adults. But there is spectacle. And in bucketloads. In fact, the Act 1 finale, blink-and-you-miss-it, quick change, is so good it was almost worth the price of admission just to see that. Almost. There is just one nod to traditional Broadway theatre song and dance by way of Hygge, early in Act 2. This was the musical highlight for me. The rest of the score was largely forgettable, save for the hit from the film, which I've never been fond of. The realisation of the reindeer is quite magical, but pity the performer inside, and there is some delightfully realised stage magic. The sound design and fidelity is adequate but way below the new benchmark set by Cinderella. By contrast, the lighting and effects here are stunning. Hygge establishes that we're set in Denmark, or some fairy tale equivalent, so the decision to have characters speak with an American accent seemed bizarre and unnecessary. This doesn't fully explain why Anna is pronounced "Ahr'nah" and Hans "Hons", both of which I found particularly grating. Another issue is that Hans has a personality transplant, from dewy-eyed, lovelorn, geeky, young man, to cunning, arch villain, that stretches all credulity. In conclusion, five stars for the rather wonderful renovated Drury Lane, but three stars for this show. Act 1: 19:03-20:03 Act 2: 20:26-21:15 You should have asked for a booster seat 😀 |
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5,142 posts
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Post by TallPaul on Sept 18, 2021 11:51:09 GMT
Or gone to &Juliet, even with its pretentious ampersand!
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19,670 posts
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Post by BurlyBeaR on Sept 18, 2021 11:54:09 GMT
Or gone to &Juliet, even with its pretentious ampersand! Except that it doesn’t open until next week 😀 |
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1,470 posts
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Post by mkb on Sept 18, 2021 12:11:31 GMT
Or gone to &Juliet, even with its pretentious ampersand! Except that it doesn’t open until next week 😀 Interesting. I filtered by today's date in TodayTix, and &Juliet was listed first! Also of note for Frozen, the pre-show no phones/recording auditorium announcement included a polite and very clear request to wear masks to protect staff and cast, and was ignored by 95%. |
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Post by Deleted on Sept 18, 2021 13:23:05 GMT
In attempting to salvage a night out in the West End, without wasting hotel and train costs following the very late cancellation of Back to the Future, we found ourselves hunting for a replacement show. We haven't seen &Juliet, but that pretentious ampersand and the marketing made us fairly confident this was one for the Hamilton crowd and we still have painful memories of our trip to that. Not ready to do a repeat viewing of something already seen, that left just one other option. And so we found ourselves last night in front row stalls seats at Frozen, just to the left of the conductor. The stage floor is in a horizontal plane rather than the usual gentle slope forwards. The front row is slightly below stage height: if you raise yourself up about three inches, you can see everything. (I'm 5'8".) For that reason, I thought this row should have been in the £79.50 price band rather than the £89.50 we paid. I couldn't work out who this show is for. The attention of most of the kids around us was lost after half an hour, and they fidgeted and looked tired and bored. One precious little thing in the centre of row C made a nuisance of herself throughout thanks to an ineffectual mother/guardian. Teenagers would regard the show as completely un-sick or whatever the current yoof vernacular is. And there's insufficient wit and charm to captivate adults. But there is spectacle. And in bucketloads. In fact, the Act 1 finale, blink-and-you-miss-it, quick change, is so good it was almost worth the price of admission just to see that. Almost. There is just one nod to traditional Broadway theatre song and dance by way of Hygge, early in Act 2. This was the musical highlight for me. The rest of the score was largely forgettable, save for the hit from the film, which I've never been fond of. The realisation of the reindeer is quite magical, but pity the performer inside, and there is some delightfully realised stage craft. The sound design and fidelity is adequate but way below the new benchmark set by Cinderella. By contrast, the lighting and effects here are stunning. Hygge establishes that we're set in Denmark, or some fairy tale equivalent, so the decision to have characters speak with an American accent seemed bizarre and unnecessary. This doesn't fully explain why Anna is pronounced "Ahr'nah" and Hans "Hons", both of which I found particularly grating. Another issue is that Hans has a personality transplant, from dewy-eyed, lovelorn, geeky, young man, to cunning, arch villain, that stretches all credulity. In conclusion, five stars for the rather wonderful renovated Drury Lane, but three stars for this show. Act 1: 19:03-20:03 Act 2: 20:26-21:15 *Norway |
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1,470 posts
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Post by mkb on Sept 18, 2021 13:30:06 GMT
Apologies. You're right. Norwegian too it seems. I only knew of hygge through Sandi Toksvig.
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212 posts
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Post by sprampster on Sept 19, 2021 8:51:10 GMT
Saw this last night spectacular production that sits really well in the gorgeous refurbished theatre
Pre show wandering around felt like a proper theatrical event
Couple of things we were row C Royal circle 37 38 and stage right portals were all completely masked didn’t bother us but quite surprised as seats were not too far to side
Secondly Samantha Barks seemed a little tired vocally and physically looked very thin just hope she is taking care of herself and they Disney are looking after her
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131 posts
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Post by eliza on Sept 20, 2021 21:00:23 GMT
I saw this on Sunday and feel very mixed about it! Adored Samantha Barks' voice and I liked the sets although they weren't quite as spectacular as I expected. It mostly seemed to be lighting effects. I remembered the sets and costumes in Aladdin being incredible so was expecting something more like that and was a bit disappointed.
Audience was awful. I could let the constantly talking children off because they're young and I understand! But the two women next to us loudly sang along to Let It Go very badly which was frustrating. And a woman behind us started loudly pantomime booing Hans on two separate occasions which set all the kids off joining in. Plus saw people round me texting loads. I can't let the adults off!
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2,416 posts
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Post by robertb213 on Sept 20, 2021 21:17:34 GMT
Samantha has posted on Instagram that she's fighting off a chest infection this week, which may explain why some thought she sounded tired recently.
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258 posts
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Post by notmymuse on Sept 21, 2021 20:53:17 GMT
Samantha has posted on Instagram that she's fighting off a chest infection this week, which may explain why some thought she sounded tired recently. Perhaps a silly question, but in situations like these who decides when she should perform/not? Is it up to the performer, or do they need a doctor's note, or does a resident director of company manager decide? I would imagine her understudy will also be fantastic, and I would have thought better the understudy than a sub-par lead who may need time to recover and get more ill if they continue - how does it work? |
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2,416 posts
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Post by robertb213 on Sept 21, 2021 20:57:50 GMT
Samantha has posted on Instagram that she's fighting off a chest infection this week, which may explain why some thought she sounded tired recently. Perhaps a silly question, but in situations like these who decides when she should perform/not? Is it up to the performer, or do they need a doctor's note, or does a resident director of company manager decide? I would imagine her understudy will also be fantastic, and I would have thought better the understudy than a sub-par lead who may need time to recover and get more ill if they continue - how does it work? Not silly at all, I thought the same! It must be tough to even talk with a chest infection, let alone belt out Let It Go eight times a week! |
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Post by inthenose on Sept 21, 2021 21:05:33 GMT
Samantha has posted on Instagram that she's fighting off a chest infection this week, which may explain why some thought she sounded tired recently. Perhaps a silly question, but in situations like these who decides when she should perform/not? Is it up to the performer, or do they need a doctor's note, or does a resident director of company manager decide? I would imagine her understudy will also be fantastic, and I would have thought better the understudy than a sub-par lead who may need time to recover and get more ill if they continue - how does it work? Company Manager and performer will liaise constantly (provided they get along!), like family with WhatsApps back and forth etc. Ultimately it comes down to the performer, provided Covid symptoms aren't involved. They will phone/text the CM saying they're sick and unable to perform, just like you would with your line manager in any other job. |
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4,177 posts
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Post by HereForTheatre on Sept 22, 2021 6:50:51 GMT
She has an excellent talent as her cover in Danielle Fiamanya who I'd be hugely excited to see, I don't think she has been on yet and so you'd think they wouldn't be against throwing her in for at least a day or two to give Sam a break surely.
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4,361 posts
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Post by shady23 on Sept 23, 2021 12:24:26 GMT
Emily Lane makes her Anna debut today
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