Profile for FireFingers

Got my second row ticket for 37.50. Cheaper tickets were available, just not a lot.

Avenue Q was the fresher, cleaver show and should have won because of that. Wicked was one of the final moves of the traditional musical theatre stuff. Avenue Q was one of the early examples of a whole new way of doing musical theatre. I do think that Wicked should have one best score though. As much as I love the score to Avenue Q, Wicked did far more.

It isn't expensive in London. The most you can pay per part is less than £100/$126 (so £200/$253 total to see Parts 1 and 2, and having seen the show their is enough to warrant it being in two parts), and I think 300 tickets per performance are £20/$25. JK Rowling pushed to keep the prices down and keep Harry Potter accessible. And for those asking about staging, it does need a bit of wing space and other technical requirements that make the Lyric a very sensible choice.

Currently be considered for a run in London next summer I hear.

BisforBroadway said: "I am very worried about the book and score . How are they? Score is very Tim Minchin, fast paced lyrics and a more eclectic mix of styles than Matilda. He tweeted yesterday he wants to add a new final number, as Seeing You does feel a bit more like an 11 o'clock number (although it ending peacefully without an on your feet, dancing in the aisles number works too). It has been years since I have seen the film, so don't know how much has been lifted from the film, though a...

I saw this this evening and loved it. Still needs a tweak here and there but nothing major. It wasn't too repetitious despite the subject matter, and Andy Karl is bound to get an Olivier nom for beautifully displaying the levels and changes within Phil. The set was far more complicated than those pictures let on, and there were some great little illusions too. Score was a pretty eclectic mix of genres, and very word-y, as is Minchin's style. Some wonderful elements to create car chase etc, bu...

I didn't get to see it in London but they did live stream a performance and it was fantastic. And really showed what sound design can do for a piece of theatre.

The Toxic Avenger

Sound designers aren't paid to care how something looks. You pay set, costume, make up, lighting designers to care how something looks, with the director at the top. The sound designer will crest the best sound possible with placement to achieve that, and it is up to the visual designers to say they have an issue. That is then taken to the sound designer and is negotiated. As to why a mic is positioned where, it is down to 2 things. 1. How loud the performer is 2. How loud the orchestra is on...

I think it is the key to the house Huey buys his mother, as he can no longer keep up the payments.

Saw this production when it ran at the Royal Court. Loved it, but very harrowing and a bit uncomfortable to watch. Some spectacular performances in it. Recommended.

Love the source material, myself. But I agree with Smeds2, there is a lot going on in the head of characters that will be a real challenge to portray on stage. Ryuk could be an incredible sight on stage if done right. Liking the new track any way.

Been on TKTS for a good while. Gonna be in town in a few weeks and gonna take a gamble on TKTS availability for this I think.

Some people are horrible at stage door, but most aren't. Theatres have a lot of doors, and getting from backstage to edit front of house really takes no time at all. Actors don't have to come out, and are perfectly entitled to leave by another exit. They can also come out of stage door, say they really have to get home, and dash through. It's all optional. There is no entitlement about it. Of course some people complain when people don't come out, but they're the minority. I quite like people...

The 25th anniversary performance was filmed all the way through. I suspect CamMac is making sure a release of the live show won't hamper any plans for a film version.

What causes that - Crazy For You

Childrens' voices are also a lot weaker, and thus the adults add weight and dicition to the vocal parts.

My name is in the programme for it somewhere I think. They did a kickstarter and a slung a bit in as it sounded like an interesting project.

But those weren't new West End productions. I was told about the difficulties the Dahl estate created by one of the shows creatives. If they wanted the rights to do the show in London, they had to go along with what the estate wanted.