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Post by sfsusan on Dec 29, 2021 16:14:06 GMT
Yes, but they won’t just give you them these days. You have to have pre-ordered them. Is this new, and since when? I know I've picked them up without pre-ordering, but it would have been in October. Although the other day, the Boots near Mornington Crescent had a sign saying "no tests available today, try tomorrow", nothing about having to pre-order. And a gentleman came in asking while I was there and was told the same, not that he had to order in advance. |
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Post by sfsusan on Dec 29, 2021 16:18:14 GMT
but will try the Boots in St Pancras/Kings Cross first! You may know this, but there are two Boots at St. Pancras... a small one at the front of the station (along Euston Road) and a much, much larger one at the 'back', near the exit to Pancras Road. |
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Post by dippy on Dec 29, 2021 16:23:26 GMT
A good place to have a look is in libraries, don't need a code to pick them up there either.
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Post by fiyero on Dec 29, 2021 16:23:51 GMT
Yes, but they won’t just give you them these days. You have to have pre-ordered them. Is this new, and since when? I know I've picked them up without pre-ordering, but it would have been in October. Although the other day, the Boots near Mornington Crescent had a sign saying "no tests available today, try tomorrow", nothing about having to pre-order. And a gentleman came in asking while I was there and was told the same, not that he had to order in advance. I feel we may be derailing this thread but when I picked mine up you had to go online and get a collection code, similar system to when you order them to be posted. You can get a collection code here: test-for-coronavirus.service.gov.uk/collect-lateral-flow-kits |
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Post by Deleted on Dec 29, 2021 16:41:13 GMT
Is this new, and since when? I know I've picked them up without pre-ordering, but it would have been in October. Although the other day, the Boots near Mornington Crescent had a sign saying "no tests available today, try tomorrow", nothing about having to pre-order. And a gentleman came in asking while I was there and was told the same, not that he had to order in advance. I feel we may be derailing this thread but when I picked mine up you had to go online and get a collection code, similar system to when you order them to be posted. You can get a collection code here: test-for-coronavirus.service.gov.uk/collect-lateral-flow-kitsYou don't have to get a code. That said, as far as I'm aware pharmacies can give them out as they wish so some may be keeping supplies for people who have bothered to get codes. |
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Post by Deleted on Dec 29, 2021 16:46:20 GMT
Unless they have changed the system (again) since I ordered some an order doesn't guarantee getting some, they just need a code to keep track I think. Luckily I only had to try 2 pharmacies to get mine. I believe the story that they have the stock its the logistics which are tricky so hopefully it will improve. If you have a friend in London may be worth them grabbing you a box full in advance as they aren't linked to an individual. Back to Cabaret, I am getting excited for my second trip as I'll be in the stalls (back row but still!) I was fortunate enough to go last night (after frantic checking of the Cabaret Twitter account over Christmas) and was sat in row J of the stalls - the very back. The view was faultless, and the show was mesmerising. Each character was portrayed starkly differently to the previous Savoy/U.K. tour production. Eddie’s Emcee felt like the perfect balance of court jester/narrator and friend to the audience. Jessie’s performance of the title number was unlike anything I expected, however it still impressed. She very much acted the part, rather than sing it. Due to the nuanced, fresh deliveries of the characters I’m even more determined for a new cast recording. The 1986 London cast don’t quite hit the spot for me after this version. I could easily see a transfer to Broadway on the cards too, with some luck. |
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Post by nottobe on Dec 29, 2021 17:12:33 GMT
I saw this last night. Was in Upper Gallery row B, be warned steps very steep but once sat down it is fine and very good areal view of stage especially for the cheapest price.
Enjoyed the production and found it to be very visually exciting and had the wow factor. Loved Jessie Buckley as Sally and watching her was magnetic.She also bright something new to the title number for me. Was less keen on Eddie Redmayne, a very showy performance that was very physical but reminded me a lot of The Child Catcher, especially paired with the 'Money' costume. Would have liked him to ramp down the crazy and add more nauence to the part but was good rather than great. Looking at the TimeOut review they word my views perfectly on Redmayne.
Rest of the cast were very good and enjoyed their performances a lot so can't single anyone out.
Production was very strong and enjoyed the clever staging and design, very creative. Some moments could be tweaked a bit and felt at some moments could have been emotionally punchier and relevant. Also that green fur coat was horrid.
Overall an almost perfect production but enjoyed a lot.
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Post by nottobe on Dec 29, 2021 20:21:39 GMT
Also thinking of possible new casts.
My choice for Sally would be Carey Mulligan.
I also think a slightly left field choice for Emcee would be Toby Jones. I can imagine he would be very thrilling to watch and capable .
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Post by ThereWillBeSun on Dec 29, 2021 20:53:35 GMT
Also thinking of possible new casts. My choice for Sally would be Carey Mulligan. I also think a slightly left field choice for Emcee would be Toby Jones. I can imagine he would be very thrilling to watch and capable . I love Carey. One of my favourite actresses. Not sure how she is vocally - I would say Jessie was more actory-singer than vocally led - if that makes sense? |
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Post by shambles on Dec 29, 2021 20:59:49 GMT
Carey Mulligan is working on the Leonard Bernstein film next year. Can't be her. Though she can sing enough for Sally Bowles, sang in Shame
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Post by sleepflower on Dec 29, 2021 22:13:16 GMT
I saw someone online say Daniel Radcliffe for the Emcee, which I thought would be great, he's been in musicals before
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Post by mrbarnaby on Dec 29, 2021 22:23:25 GMT
I saw someone online say Daniel Radcliffe for the Emcee, which I thought would be great, he's been in musicals before That could be interesting. He’s a pretty fearless performer on stage , way more than Redmayne |
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Post by nottobe on Dec 29, 2021 22:37:47 GMT
I saw someone online say Daniel Radcliffe for the Emcee, which I thought would be great, he's been in musicals before That could be interesting. He’s a pretty fearless performer on stage , way more than Redmayne There is a rumour that Radcliffe is doing Merrily we Roll Along in New York next year with Andrew Garfield. Don't know how true it is but agree he would be a good choice! |
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Post by mrbarnaby on Dec 29, 2021 22:59:35 GMT
That could be interesting. He’s a pretty fearless performer on stage , way more than Redmayne There is a rumour that Radcliffe is doing Merrily we Roll Along in New York next year with Andrew Garfield. Don't know how true it is but agree he would be a good choice! I don’t think Radcliffe would take over a role anyway to be honest. |
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Post by emmy on Dec 30, 2021 22:11:23 GMT
Finally saw this earlier, so nice to see such a different production of Cabaret. Still not entirely sure whether I "liked" Jessie Buckley and Eddie Redmayne - some really interesting choices that I maybe wasn't that keen on in the moment, but haven't stopped thinking them about since so something's worked! Also never seen a production of Cabaret that shifted the focus quite so much onto Sally rather than Cliff/ Emcee, but certainly managed to help me stop thinking about the wonderful Mendes production. Thought Liza Sadovy and Stewart Clarke were particularly strong of the supporting cast (only just realised Clarke was the excellent Perchik in the recent Menier Fiddler on the Roof, but nice to see him again).
Does anyone have the understudies list btw? (programme looked a bit expensive for me)
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Post by scarpia on Dec 31, 2021 1:08:42 GMT
Brochure / programme was £10 when I bought one 3 weeks ago. It's definitely £15 now, bought one tonight. It's oversize and sort of half trying to be a brochure but not quite. I had deliberately avoiding reading the reviews of this (and still haven't) before I went tonight as I wanted to be surprised. And I was, in a very, very pleasant way. This is one of the best things I've seen in the West End for some time and I thought all in all it was pretty perfect from my stalls seat (I was somehow lucky enough to have been very close to the stage without having to pay the fortune I've heard some people have had to pay). I don't know how it comes across in the circle; the Playhouse is not my favourite theatre for being really in any circle, but I don't know if they've remodelled it for this. But from where I was sitting it felt very intimate (to the point where it seemed Redmayne directed a snippet of the opening number to me personally). But what I saw tonight seemed virtually flawless to me and a total masterclass. I had seen Rebecca Frecknall's Summer and Smoke at the Almeida (but nothing else of hers) and while I thought that was fine, I wasn't wowed by it. But here Frecknall's direction was impeccable and creative, and - most importantly, especially for a piece as well known as Cabaret - contained many theatrical surprises, all whilst evoking and giving nods to everything from the Commedia dell'arte to the techniques of (appropriately) German directors from Reinhardt to Brecht (and, of course, Piscator and his Broadway disciple, Prince). It's really refreshing having a female director at the helm of such a classy production. The moment in Act 2 at the end of the dialogue between Herr Schultz and Fräulein Schneider alone was a brilliant coup de théâtre that worked on so many levels. The revolve was used intelligently and meaningfully and always in order to serve the story - if you ever read this, Laurence Connor, THIS is how to use a revolve. The lighting was so exquisite that I will be very disappointed if Isabella Byrd (who is entirely new to me) does not at least get an Olivier nomination for it. The performances were superb throughout, but the two most electrifying moments of the show belong to Buckley with her delivery of 'Maybe This Time' and the title number. I think this was my first time seeing her live, and from the get-go she has that star quality that you can feel as soon as she is on stage in a way I've experienced with very few performers. And I loved the immersive aspect of it too - it reminded me slightly of the West End transfer of the pie-shop Sweeney Todd from a few years ago, which I adored. Frankly, I thought this made a lot of productions that are on at the moment seem amateur at best. I had deliberately avoided the last revival of this show as Kenwright's name put me off, so I'm glad I went to this. I much prefer this to the Mendes revival and think it at least equals the original (though I never saw the original live). I'd love to go again as I thought the quality of this was so high, though that's not likely until well into the second half of next year. Have they said anything about what will happen to the pricing once the current cast goes? I haven't been following so apologies if this was discussed somewhere before. Also, out of curiosity in case anyone knows or has a reasonable guess, how much would it have cost to remodel the Playhouse in this way? In other words, what is the chance of recouping (even with the high prices) on this production given the costs of remodelling and what I assume must be a fairly hefty fee for the current leads (not to mention the lost revenue resulting from the COVID cancellations)? |
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Post by scarpia on Dec 31, 2021 1:13:19 GMT
Does anyone have the understudies list btw? (programme looked a bit expensive for me) Understudies as follows: - Emcee: André Refig, Matthew Gent
- Sally: Emily Benjamin, Sally Frith
- Clifford: Christopher Tendai, Chris O'Mara
- Fräulein Schneider: Anna-Jane Casey, Emily Benjamin
- Herr Schultz: André Refig, Josh Andrews
- Ernst: Josh Andrews, Matthew Gent
- Fräulein Kost: Sally Frith, Bethany Terry
- Max: Matthew Gent, Josh Andrews
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Post by shambles on Dec 31, 2021 1:26:24 GMT
Brochure / programme was £10 when I bought one 3 weeks ago. It's definitely £15 now, bought one tonight. It's oversize and sort of half trying to be a brochure but not quite. I had deliberately avoiding reading the reviews of this (and still haven't) before I went tonight as I wanted to be surprised. And I was, in a very, very pleasant way. This is one of the best things I've seen in the West End for some time and I thought all in all it was pretty perfect from my stalls seat (I was somehow lucky enough to have been very close to the stage without having to pay the fortune I've heard some people have had to pay). I don't know how it comes across in the circle; the Playhouse is not my favourite theatre for being really in any circle, but I don't know if they've remodelled it for this. But from where I was sitting it felt very intimate (to the point where it seemed Redmayne directed a snippet of the opening number to me personally). But what I saw tonight seemed virtually flawless to me and a total masterclass. I had seen Rebecca Frecknall's Summer and Smoke at the Almeida (but nothing else of hers) and while I thought that was fine, I wasn't wowed by it. But here Frecknall's direction was impeccable and creative, and - most importantly, especially for a piece as well known as Cabaret - contained many theatrical surprises, all whilst evoking and giving nods to everything from the Commedia dell'arte to the techniques of (appropriately) German directors from Reinhardt to Brecht (and, of course, Piscator and his Broadway disciple, Prince). It's really refreshing having a female director at the helm of such a classy production. The moment in Act 2 at the end of the dialogue between Herr Schultz and Fräulein Schneider alone was a brilliant coup de théâtre that worked on so many levels. The revolve was used intelligently and meaningfully and always in order to serve the story - if you ever read this, Laurence Connor, THIS is how to use a revolve. The lighting was so exquisite that I will be very disappointed if Isabella Byrd (who is entirely new to me) does not at least get an Olivier nomination for it. The performances were superb throughout, but the two most electrifying moments of the show belong to Buckley with her delivery of 'Maybe This Time' and the title number. I think this was my first time seeing her live, and from the get-go she has that star quality that you can feel as soon as she is on stage in a way I've experienced with very few performers. And I loved the immersive aspect of it too - it reminded me slightly of the West End transfer of the pie-shop Sweeney Todd from a few years ago, which I adored. Frankly, I thought this made a lot of productions that are on at the moment seem amateur at best. I had deliberately avoided the last revival of this show as Kenwright's name put me off, so I'm glad I went to this. I much prefer this to the Mendes revival and think it at least equals the original (though I never saw the original live). I'd love to go again as I thought the quality of this was so high, though that's not likely until well into the second half of next year. Have they said anything about what will happen to the pricing once the current cast goes? I haven't been following so apologies if this was discussed somewhere before. Also, out of curiosity in case anyone knows or has a reasonable guess, how much would it have cost to remodel the Playhouse in this way? In other words, what is the chance of recouping (even with the high prices) on this production given the costs of remodelling and what I assume must be a fairly hefty fee for the current leads (not to mention the lost revenue resulting from the COVID cancellations)? I think it was mentioned in one of the interviews with the designer Tom Scutt. They need the show to run for 5 years if investment is to be recouped. |
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Post by theatrefan77 on Dec 31, 2021 1:33:18 GMT
I don't think it will run that long...
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Post by scarpia on Dec 31, 2021 1:41:32 GMT
Wow, 5 years?! That's a big risk if they're banking on that. Few revivals last that long, even for some of the most popular shows out there.
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Post by shambles on Dec 31, 2021 1:53:13 GMT
Wow, 5 years?! That's a big risk if they're banking on that. Few revivals last that long, even for some of the most popular shows out there. I think there must be a little exaggeration in there, as a way of signaling quality via expense. But I think the difficulty of programming things normally in the Playhouse and the boxy stage must have made ATG take the plunge. I'm sure there must be other pieces that are well served by the round and the intimacy, with a different lick of paint and little alteration in decoration. |
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Post by horton on Dec 31, 2021 12:34:44 GMT
Maybe Great Comet could follow?
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Post by newyorkcityboy on Dec 31, 2021 13:42:54 GMT
I saw someone online say Daniel Radcliffe for the Emcee, which I thought would be great, he's been in musicals before He’d be amazing, his performance in ‘How to Succeed’ on Broadway was v physical & he would certainly put bums on seats! |
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Post by mrbarnaby on Dec 31, 2021 15:47:07 GMT
I wish they’d have cast Andrew Garfield, he’d have been much better than Redmayne. Or Ben Whishaw.
Or JAKE GYLLENHAAL
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Post by horton on Dec 31, 2021 15:52:03 GMT
But Ed bankrolled the show..
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