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Wicked The Most Audience Videoed Show Ever?


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#11 Tettekete

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Posted 18 June 2013 - 08:15 PM

I'd say Willemijn's first night is going to be a big deal, seeing as she's going into her fifth production/fourth country.

I like seeing clips on youtube (I wouldn't have become so interested in seeing the show, otherwise), but don't audience members know how distracting it must be for a performer to see  little red light blinking at them from the auditorium? I know recording audio is far more discreet, but still...
Seen (theatre): Once (London x 2), Wicked (Scheveningen, The Netherlands x6), Wicked (London x 22), We Will Rock You (London x3), Les Miserables (London x 1), The Phantom of the Opera (London x1), Rock of Ages (London x 1), Romeo et Juliette (Takarazuka Revue, Japan x 5), Studio54 (Takarazuka Revue, Japan, x1), For Whom The Bell Tolls (Takarazuka Revue, Japan, x1), Nova Bossa Nova/Meguriai wa Futatabi (Takarazuka Revue, Japan, x2), Nijinsky (Takarazuka Revue, Japan, x3), 9 to 5: The Musical (UK Tour, Sunderland x1), RENT in Concert (Newcastle x1), Singin' In The Rain (UK Tour, Sunderland x 1)

Seen (concerts, etc): Willemijn Verkaik "As I Am" solo concert at the AFAS Circustheater (2012), West End Eurovision 2013, Rachel Tucker at the St James Theatre studio, Scott Alan at the O2, Andrew Lippa at the St James Theatre

#12 jaqs

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Posted 19 June 2013 - 01:11 PM

In part it must be timing, when Phantom and Les Mis opened discrete recording devices were not available to the average theatre goer. Wicked opened at a time when electronics were becoming both smaller and more affordable.

#13 Catqc

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Posted 20 June 2013 - 10:03 AM

Agreed jaqs - also the AV is a huge theatre and its playing in the US and has played a dozen countries around the world so I guess the number of people who have seen it and had the opportunity to video it is much higher than for most shows, even longer runners...

#14 Coggit

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Posted 20 June 2013 - 01:55 PM

View Postjaqs, on 19 June 2013 - 01:11 PM, said:

In part it must be timing, when Phantom and Les Mis opened discrete recording devices were not available to the average theatre goer. Wicked opened at a time when electronics were becoming both smaller and more affordable.

I have a bootleg from a performance of the 1990 LA run of Phantom with Michael Crawford as Phantom and Mary D'Arcy  as Christine - the filming, for its age is amazingly clear. I often wonder how they managed to get away with it back then... the camera must of been bloody huge!
2013 Theatre
[West End] Shrek****, The Phantom of the Opera***, Spamalot****,The Phantom of the Opera*****, Viva Forever*, Jersey Boys****, This House***, The Book of Mormon*****, Marinda Sings Live! ***** (Booked for: Stephen Ward, Charlie and the Chocolate Factory)
[UK Tour] The Phantom of the Opera*****, Rocky Horror Show***, Hairspray****, The 39 Steps**, The Mousetrap***, Starlight Express****, Rocky Horror Show****

#15 tsxmitw

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Posted 22 June 2013 - 10:04 PM

It's an invaluable form of guerrilla publicity, especially for Wicked.

Producers could do a lot more to clamp down on bootlegs, but they'd be stupid to do so...

#16 tsxmitw

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Posted 22 June 2013 - 10:05 PM

Also - let's not forget the amount of professional West End performers who 'like', 'favourite' (from their official YouTube accounts) or even in some cases tweet illegal bootlegs of their performances. The culture is changing with a new generation

#17 Matthew Winn

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Posted 23 June 2013 - 06:22 AM

View Posttsxmitw, on 22 June 2013 - 10:04 PM, said:

It's an invaluable form of guerrilla publicity, especially for Wicked.

I'm not so sure. This is a line of reasoning often used by fans to defend what they're doing - essentially "I know it's wrong but we're doing them a favour so that makes it OK" - but it doesn't stand up to scrutiny:

(1) The quality of the recording is usually poor. It doesn't create a good impression.

(2) Mistakes aren't edited out. In fact, fans often relish the uniqueness of having captured something out of the ordinary. This creates a bad impression.

(3) The overwhelming majority of people who seek out such bootlegs are fans (who are already sold on the product) or people who have no intention of spending money (who are useless). It targets the wrong audience. Bootlegs don't reach, for example, people who are trying to think of something to see.

(4) If there was any value in releasing poorly-recorded clips of the show with no quality control then it would already be happening through official channels. There is no channel available to fans that isn't also available to the production, and the production can do a better job of it.
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#18 KevinUK

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Posted 23 June 2013 - 06:47 PM

View PostMatthew Winn, on 23 June 2013 - 06:22 AM, said:



I'm not so sure. This is a line of reasoning often used by fans to defend what they're doing - essentially "I know it's wrong but we're doing them a favour so that makes it OK" - but it doesn't stand up to scrutiny:

(1) The quality of the recording is usually poor. It doesn't create a good impression.

(2) Mistakes aren't edited out. In fact, fans often relish the uniqueness of having captured something out of the ordinary. This creates a bad impression.

(3) The overwhelming majority of people who seek out such bootlegs are fans (who are already sold on the product) or people who have no intention of spending money (who are useless). It targets the wrong audience. Bootlegs don't reach, for example, people who are trying to think of something to see.

(4) If there was any value in releasing poorly-recorded clips of the show with no quality control then it would already be happening through official channels. There is no channel available to fans that isn't also available to the production, and the production can do a better job of it.

I agree and disagree to an extent. It's like when you go to a concert - until the birth of smart phones acts tried to stop fans taking photos and video footage, but now it's considered a great form of promotion and actively encouraged.

Theatre will never actively promote someone recording parts of a show (due to copyright issues), but inevitably it is part of their online presence now: especially when you consider YouTube recommendations etc.

It's true bootleg recordings don't go viral and aren't widely seen, but building a fan base is now a huge part of any shows survival - I know that I've often gone on YouTube to listen to someone perform Defying Gravity and ended up deciding to book again.

It can also help when a name joins a production - many fans of Wicked have watched this newly announced Elphaba, and have booked on the strength of YouTube videos. Of course, they don't amount to huge sales, but sales nonetheless.
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#19 Coggit

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Posted 26 June 2013 - 10:07 AM

View PostMatthew Winn, on 23 June 2013 - 06:22 AM, said:



(3) The overwhelming majority of people who seek out such bootlegs are fans (who are already sold on the product) or people who have no intention of spending money (who are useless). It targets the wrong audience. Bootlegs don't reach, for example, people who are trying to think of something to see.


I've been trading and collecting bootlegs for about a year now, and for me it has exposed me to loads of musicals that I otherwise wouldn't even consider seeing. Thanks to a bootleg of the B'way production of Spamalot - I've been to the west end production twice. This is a musical I would of totally skipped. The same with the Jersey Boys - I had no intention of ever seeing  it until I received a bootleg of it. I hated the idea of Ghost the musical - I wasn't a fan of the film. Thanks to the bootleg I have, I'll be going to see it when it comes to MK in its UK tour. There are several other musicals I have been exposed to (such as Catch Me If You Can and Young Frankenstein) that as a result, I will 100% be seeing when/if they arrive in London.

Not only that, it has exposed me to musicals that the UK won't ever get due to them flopping or otherwise - such as the b'way runs of Lestat and Dracula - the latter, I bought the new English concept album that was released last year and also the Graz cast CD.  One of my favourite bootlegs is a Dance of the Vampires recording from Broadway - a production we'll never, ever see in the UK (and if we do ever get a TdV, it won't be a comedy like the B'way version).

I do understand what you say about it not being the best advertisement though. I do like (and make a point of looking for) videos where things have went wrong. One of my favourite  being a Japense video of Phantom, in which the boat breaks down and the set doesn't come on stage, resulting in the Phantom literally dragging the candles on. Also a Germany video in which Mme. Giry doesn't make it on for "Ms Daae has returned".

Since I've been collecting bootlegs, musicals have certainly benefited from me.
2013 Theatre
[West End] Shrek****, The Phantom of the Opera***, Spamalot****,The Phantom of the Opera*****, Viva Forever*, Jersey Boys****, This House***, The Book of Mormon*****, Marinda Sings Live! ***** (Booked for: Stephen Ward, Charlie and the Chocolate Factory)
[UK Tour] The Phantom of the Opera*****, Rocky Horror Show***, Hairspray****, The 39 Steps**, The Mousetrap***, Starlight Express****, Rocky Horror Show****

#20 poster J

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Posted 26 June 2013 - 11:15 AM

I'll admit to having watched the odd bootleg in the past - the Broadway production of Spamalot because I didn't get over to see it and I've been a fan of Sara Ramirez for years, and the OLC of Legally Blonde because I never got to see Sheridan as Elle.  But I do feel slightly ashamed for doing it, as it must be very distracting for performers when people record shows - I remember being at Wicked once and reading twitter in the interval saw that Louise Dearman had tweeted about how annoying it was seeing a bright red light in the audience from someone clearly recording the show.  At the end of the day the actors are doing their jobs, and they shouldn't have to put up with disturbances like that.




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