http://www.northernstage.co.uk/whats-on/close-the-coalhouse-door

Lots of Love to you Trix. xxx

Obviously it’s still a lot a money for a large part of the population BUT.. those who want to go will find a way.

For me I’ve been wanting to see Phantom for ages.. if I went to London it would cost 3-4 times the amount I’ve paid to see it in Manchester once all costs are factored in.

My biggest complaint is the ticket touts buying tickets to re-sell at extortionate rate thus depriving real fans of the decent seats !

Comparing musical theatre to pop music, in my opinion, is wrong. There are several people in the music industry who have brilliant voices but lack the versatility that the West End requires. At the end of the day, being a West End performer is not just about singing. And to be honest, acting is not required of a popstar, unless they are really, really good.

So, comparing the X Factor contestants to current pop stars and NOT to West End performers, your point actually still stands. I do think there are several respectable pop stars who actually DO put in as much effort in their shows as West End performers do in their roles. Obviously, there are also those who use click tracks at their concerts and disappoint when you see them live. But amongst all the crap that the music industry feeds us, I’ve still been able to find some performers that have appealed to me for either sheer talent or performance or both. You haven’t watched this year, but I have to say, there is only one contestant who could sustain this as a career. The others are either one trick ponies, or just plain talentless.

Ultimately, I don’t think the producers are to blame for putting on what is honestly a circus of a programme, but the viewers who cannot see through their tricks. If they started voting for the right people, the talented people, instead of being indoctrinated by what the judges say week on week, then it would be a competition about talent. But I do think it’s utopic to wish that everyone went to see a West End show and then drew comparisons. It would be much simpler to read “Chart Throb” by Ben Elton – a real eye opener on the world of these “reality shows”, and even that is utopic.

I don’t know when exactly people stopped knowing what a good singer sounds like, and what a good performer looks like, but I do think it’s an irreversible process now, and if they did see Ramin, Gina or JOJ, I can assure you they couldn’t even tell the difference with a Kitty or a Sophie. We should be thankful we’ve still got the critical sense to see through the show because most people can’t.

Thrilled at the prospect of Karimloo joining Les Mis – I’d hoped it would be a move we’d see sometime, but never thought it would come so soon! Only downside is, a colleague who has teased me over my already numerous visits to Les Mis will have even more ammunition now, because I will definitely want to see what Ramin brings to the role!

I must admit to having a soft spot for the ALW talent-spotting shows, though. Generally the young hopefuls are treated with respect (though not always with kid gloves!) and it’s rewarding to recognise so many past competitors’ names now appearing in West End cast lists.

Firstly I want to say that I agree with you, in my opinion fundraising for a limited company is wrong when there are charities out there that are struggling.

I also make the following comments

I feel that Dress Circle could improve its marketing a bit. Several people I have spoken to who regularly travel down to theatre in the London area had not heard of the shop. I went to West End Live this year which was not long after the article was in The Stage. I didnt see one mention of Dress Circle at this event. I understand that advertising, a stall etc may have been prohibitive however whilst queuing to get in, there were people walking around handing out flyers for various Theatre related things. Would it have cost too much to have someone hand out some Dress Circle flyers on with perhaps a map showing where the shop was? Perhaps mentioning that the cast recordings from the shows featured could be bought there? I would have thought that a presence at events like West End Live would be a priority for the business.

My other comment is pricing. I know that a small independent shop cannot match the big boys when it comes to prices, however for an example, assume I wanted to buy the new Phantom Albert Hall Blu-Ray and CD. To buy from Dress Circle would cost me just shy of £39. To buy from one of the big online retailers would cost £27. I simply can’t justify an extra £12 to support small business – sorry but thats the truth of the matter.

In an ideal world, of course I would like to see Dress Circle survive as a shop, however if going online allows it to survive (and maybe reduce prices to a competitive level due to less overheads) then maybe that’s the way to go…

Just my views
Steve

Before I went I had also read that Hadley Fraser had “disappointed vocally”, so I was a bit on edge about that, but in the event, I thought that vocally he shone. This was, however, a Raoul cast more in the Love Never Dies mould, and from a character point of view, I couldn’t see why Christine faced such a huge choice between her two men: both being, at times, cold and controlling. This hit home particularly as I found myself thinking at one point that lovely Sierra Boggess would surely have arms covered in bruises today after being dragged around the stage by her two leading men! I guess I’m just used to a more sensitive Raoul, but it was certainly interesting to be challenged by a different take on the role.

Sierra sounded amazing and, as someone who only discovered Ramin via LND, it was a pleasure to hear him sing POTO. Always a thrill to see/hear him and never more so than in that final scene in the Phantom’s Lair. Also fun to see him bopping his head along in time to the music when the other Phantoms and Brightman sang the title song at the end!

At the start of your piece, you write that your friend questioned ‘what the definition of theatre really was, arguing that it has become polarised into two main schisms – ‘real’ theatre and ‘shows’ – and that the audiences for each were very different from one another, being driven by separate needs.’

I would love to hear you expand on this topic, as I don’t think it’s adequately addressed here.

Many people have no problem reading a popular crime novel while on their way to the Opera, or enjoying some re-runs of ‘Two and a Half Men’ after seeıng a production of ‘Betrayal’ or other so-called ‘serıous’ work. Audıences can have a wıde range of tastes. And theaters can choose to broaden theır mıssıon to offer more dıverse programmıng–why not?

But none of thıs really addresses your orıgınal questıon–what does ‘real’ theater mean, versus a ‘show’? How are the audıences dıfferent? Can you artıculate thıs ın more detaıl? And what are the ‘separate needs’ that these two forms of theater possess?

Brendan McCall
Founder & Artıstıc Dırector
Ensemble Free Theater Norway

Just shows how versatile Jasna is to move from an operatic style, grandiose performance to the sassy, tough, belter that Mama is! Great performances!

I am looking for two tickets for “Richard III” in the Old Vic for either
Friday, 26th August 2011 or Saturday, 27th August 2011 in the
Old Vic for the 19.30pm show.

I would need 2 tickets in the Dress Circle.

Kind regards and thank you very much for your kind help.
Markus Jakob
Switzerland

We all suffer for our arts but the arts shouldn’t suffer.. I have always thought rather than subsidy the arts should get the same tax exemption that religions have, as well as the artists getting tax relief.

Very best of luck in Shrek, and get Wicked next cos we havent seen that yet!

Fortunately, Phantom of the Opera didn’t have all of the flaws that had to be corrected over a period of months. They got it right from the beginning.