“I’ll do my dance, I’ll make them drink”
I’m pretty there’s a clause in the gay contract that means it is illegal to turn down the offer of drinks in the Julie Andrews room so who was I to resist when the folks at TodayTix invited me to try out their mobile ticketing app by coming along to see Miss Saigon. Founders Merritt Baer and Brian Fenty have had big success on Broadway with their service, offering tickets for a range of shows one week to one hour before showtime and boasting of enabling tickets to be purchased in 30 seconds or less.
And I have to say that they’ve pretty much nailed it. The interface of the app is bright and easy to use (certainly it was on my iPhone6), there’s a wide range of West End shows available and the process of choosing and booking tickets at all price levels is simple and speedy with a little seatmap showing you where in the theatre your selected seats are. It really does streamline the ticket-buying process so that making any last minute decisions to see a show that much easier. Continue reading “Review: Miss Saigon, Prince Edward Theatre with TodayTix”
“Fresh and alive and gay and young”
It’s kind of hard to avoid the many rave reviews that this Morphic Graffiti revival of Rodgers and Hammerstein’s Carousel has received so it won’t surprise those who know me that I wasn’t quite as blown away by it as were others. I have somehow managed to avoid ever seeing it before and I wonder if that made the difference – a recurring theme seems to be ‘one of the best versions I’ve ever seen’ indicating a deep seated affection for the show (much like Miss Saigon) whereas to fresh ears and eyes, the splendour of the score can’t always paper over the more questionable aspects of the book.
There’s certainly much to appreciate in Luke Frederick’s production – the reconceptualising of a ‘big’ musical into the boutique space of the Arcola has been excellently done. Lee Proud’s choreography has a great feel for the expressive and exhilarating potential in such intimacy and Andrew Corcoran’s tight band of five create a great musical sound, especially blessed by the unmiked singing which lends a rawness and immediacy that feels entirely appropriate for the venue. I can well imagine it not having sounded quite like this before and therefore exciting those who loved it already. Continue reading “Review: Carousel, Arcola”