All this has givern me an idea. Complimentary (included in ticket price) cloakroom phone charging. Hand your phone in before the start of the performance, gets charged during the show so the owner can't play with it, collect it when they leave.
I wonder if War Horse is starting to slip in sales hence why the National have decided to cut the musicians to save on running costs. As I've mentioned, it must be expensive to run with the large cast and the various puppets.
Think that is pretty likely. They don't want to put people out of a job just "because", but if it is that or close, then they'll lose the musicians.
Saw this tonight. Fan-bloody-tastic. First 5 stars I have given a show in a while. Great cast, great choreo, great set, great effects, great band. How this isn't selling out I don't know. If I had one criticism it would be that vocals could do with a bit of a push as they were occasionally getting lost.
I am desperately trying to figure out where I can slot in another trip before it closes, and I very rarely like to see the same show twice with the same cast.
Sadly, I don't think it'll transfer, unless it is somewhere similarly poke-y like Trafalgar Studios. Any space larger has competition from show more likely to turn a profit.
I was there last night, Row T in the stalls (great view, good rake so you don't miss anything). For me, it's a 3 star show with a 4 star potential. The drama students behind me weren't impressed, though I don't know what they expect really...
Bits of it are great. The choreography, cast, band, and set are all excellent. V. impressed at the sound team for getting the lyrics of a rap number audible in such a massive space. I even like all the characters including the hunchback.
But the ending was flat as hell, I think because the songs stop being funny and start being serious, which after two hours of laughs and not making you care about the characters, wasn't going to work. Neither act ends with the bang it should, resulting in a lacklustre reception at the end. Post bows should be some sort of reprise of I Can't Sing, as Ecstasy isn't strong enough.
Heard a great crash from behind the set which I think was the stairs from within the flower falling over, which was... interesting. Cast didn't miss a beat mind. There were a few line stumbles and cutting people off, and the odd missed mic cue, but with a show that is getting perpetually reworked, I think that is inevitable.
There is no way they'll cut Simon's twist, as the set pieces for it are too pricey to just get rid of (safe + ship + rigging that thing in the roof).
A lot of money has been spent on this show. It is definitely more a 2 year run than a 6 months and out. Sort out the ending and it is 2 years for sure.
Also, with WWRY going, imo there is nothing funny, vaguely familiar and casual on in the West End that has appeal for men anymore. Could easily be a family/date night crowd in for this. And the winter months will be packed thanks to the TV show no doubt plugging it.
A 40 minute interval? The Palladium is massive, so I assume the wings/flys are equally massive. There must be something ridiculous in both acts to cause that.
Maybe they will make a 15 min video or something, to make up time. Perhaps some fake, funny commercials and then a "previously on the show" bit. Could be sufficient padding to make the interval seem less of a drag.
I'll weigh in and say I find Mrs Lovett's post very amusing. This board can be very dry, after press night most show threads become essentially people saying they have the same opinion, with slight deviations. In down time, when nothing is really happening apart from the same shows rolling on, there isn't much to say. So having someone like Mrs Lovett making jokes makes the board worth visiting. She (or he, who knows who is behind the screen name) isn't really a troll. Always pretty much on topic, never that offensive, and not doing it to get a rise out of people.
Obviously knock then all down is mad, as the majority are well cared for and look great. And I agree the modern Broadway houses are completely soulless.
But I do think there is something to be said for a large scale modernisation plan. Some theatres just aren't designed for modern useage. Some have very poor legroom, some have insufficient toilets and bars.
As lovely as these buildings are, they are primarily a functional one. I wonder how many directors and producers are finding themselves constrained by the theatre they are in, what with, in the last hundred years or so, every other aspect of theatre having changed far more than their brick and mortor homes.
FOH jobs aren't too hard to get, well... it's luck and charisma and putting yourself forward and being able to shine in a group interview and more. But If you are interested in theatre and can prove you have people skills then you are in with a good shot, but the smaller the theatre the higher the chance of a job. FOH also means you will meet a variety of people doing jobs you didn't even know existed and find out if any of them particularly interest you,
But if you are interested in the management side of theatre, I'd start writing off to production companies and theatres about internships. It'll soon tell you if you want to work in theatre management.