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#11 Reich

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Posted 16 January 2013 - 02:28 PM

It’s really quite a dry season. I’ve booked for Tatyana but nothing really has the wow factor like previous seasons like Einstein on the B or Pina B.

Broadway has been very good to me. But then, I've been very good to broadway.


#12 Honoured Guest

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Posted 16 January 2013 - 02:43 PM

Those days are gone, Mr Reich! Einstein on the Beach and the Pina Bausch season were both major and costly elements of the London 2012 festival. Now we're back to basics, with significant funding cuts for the foreseeable future. ENO has recently reported that it made a loss of £2.47million in the year to 31 March 2012, which consumed over half of its unrestricted funds, so they'll be fully depleted by this March if nothing's changed since then. The NT has only managed to keep going as normal because of its windfall profits from War Horse and One Man Two Guvnors. The RSC is similarly reliant on Matilda. From now on, any wow factor will have to be achieved on a shoestring - I'm sure we'll get some once everyone's adjusted their mindset and expectations to the new reality.

#13 Epicoene

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Posted 16 January 2013 - 02:48 PM

View PostHonoured Guest, on 16 January 2013 - 02:43 PM, said:

From now on, any wow factor will have to be achieved on a shoestring - I'm sure we'll get some once everyone's adjusted their mindset and expectations to the new reality.

Yes, a theatrical wow factor does not necessarily require anything other than basic funding.

#14 Reich

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Posted 16 January 2013 - 04:22 PM

View PostHonoured Guest, on 16 January 2013 - 02:43 PM, said:

Those days are gone, Mr Reich! Einstein on the Beach and the Pina Bausch season were both major and costly elements of the London 2012 festival. Now we're back to basics, with significant funding cuts for the foreseeable future. ENO has recently reported that it made a loss of £2.47million in the year to 31 March 2012, which consumed over half of its unrestricted funds, so they'll be fully depleted by this March if nothing's changed since then. The NT has only managed to keep going as normal because of its windfall profits from War Horse and One Man Two Guvnors. The RSC is similarly reliant on Matilda. From now on, any wow factor will have to be achieved on a shoestring - I'm sure we'll get some once everyone's adjusted their mindset and expectations to the new reality.

I fear you may be right, although exciting events will still happen (and hopefully our opera houses will now drop this costly obsession with Wagner).

All the lottery money that went into Olympics where is it now going? or are we still paying for it?

Broadway has been very good to me. But then, I've been very good to broadway.


#15 Honoured Guest

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Posted 16 January 2013 - 07:39 PM

View PostReich, on 16 January 2013 - 04:22 PM, said:

All the lottery money that went into Olympics where is it now going? or are we still paying for it?

The lottery funds distributed by Arts Council England are now awarded as "Grants for the arts" to set-term projects. National portfolio organisations are now ineligible to apply. Organisations which lost all regular funding when they were excluded from the national portfolio are now required to apply every year for "Grants for the arts" so the small organisations which have always applied for lottery funding may in future be less successful than before, despite the end of the temporary diversion of funds to the Olympics.

I hope I've got this right - I'm not an expert.

#16 xanderl

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Posted 19 April 2013 - 10:15 PM

Anyone who, like me, has been dithering about booking for Fraulein Julie may be interested to learn that the Barbican has slashed ticket prices - side and rear stalls are now £16, row C is now £26 and more of the other stalls seats are now £32.

If you've already booked, taking advantage of the Barbican's returns policy and re-booking might be advantageous!
"witty ... both made me laugh but also gave me pause" - Mark Shenton, The Stage




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