Funnily enough I was only thinking on Saturday night round about the middle of Act One of Versailles that perhaps I could place my dosh better than with the Donmar. I am one of the few who was not impressed with Coliolanus ( God help us if he wins the Olivier award with that performance) and Versailles is awful. Of course I want benefits for the donation. Altruistic as I am and give generously to charity as I do, the deal when you give extra to a theatre generally is that you get priority booking, maybe a programme , maybe a special room away from the hoi polloi for your drinkies (as at the National) and those invitations to dinners, events and so on you can't go to because they are all at a silly time like 6pm......but the only one of which I DO want is priority booking for the best seats. I can do well without any of the rest. The Donmar has taken away this benefit from me as I now book in advance but don't get the best seats even if I phone on the very first day of my priority status, so what is the point of me continuing to give them extra money? You say, to support the Donmar. But I have to share out my pennies and maybe other places need them more and offer me better shows and better seats. The logic is muddled I admit because more money might mean better shows but there you are...
Apologies for the double post but anyone after Faust tickets make a dash to the ROH website now as a handful are currently available for each performance apart from the first night, including a few amphitheatre ones. I've just grabbed one for just under my budget limit - though I still think £46 for row M amphi is ridiculous. Front amphi is now over £100 - a few years ago it was only around £50!
Will Matilda sweep? Discuss your predictions here!! My musical opinions are (who i think will win, not who i want to win)...
Best Musical - Kinky Boots
Best Revival of a Musical - Pippin
Best Performance by a Leading Actor in a Musical - Billy Porter (Kinky Boots)
Best Performance by a Leading Actress in a Musical - Laura Osnes (Cinderella)
Best Performance by a Featured Actor in a Musical - Terrence Mann (Pippin)
Best Performance by a Featured Actress in a Musical - Annaleigh Ashford (Kinky Boots)
Best Book of a Musical - Dennis Kelly (Matilda)
Best Original Score - Tim Minchin (Matilda)
Best Scenic Design of a Musical - Rob Howell (Matilda)
Best Costume Design of a Musical - Dominique Lemieux (Pippin)
Best Lighting Design of a Musical - Kenneth Posner (Cinderella)
Best Sound Design of a Musical - Peter Hylenski (Motown)
Best Direction of a Musical - Matthew Warchus (Matilda)
Best Choreography - Jerry Mitchell (Kinky Boots)
Best Orchestrations - Danny Troob (Cinderella)
I have a sneaking suspicion that the critics are going to hate this. A borrowed plot that we've seen many times before, nothing much new in the way of staging. It just sounds "nice" with the novelty of having a young enthusiastic cast.... but that didn't save "Spring Awakening" which had so much more going for it. As you average reviewer is certainly not in their target audience, they'll compare it to what they know: Rent and Grease. Up against these two it just looks like a happy Italia Conti end of year show with low production values, no subtext, and no reason to see it over anything else in the west end. I'm sure they'll applaud the passion of the young cast in delivering it, and the "catchyness" of some of the tunes (although all pretty similar), but the only real positive attribute is that there's nothing else out there like it, unless you catch Grease on tour.... or your local panto.