dramamama611 said: "Did we now Redmayne and Rankin were only doing FOUR months?"
Interesting that it's on sale for a year. Perhaps extensions are built into their contracts, or they want to gauge early interest for non-Redmayne performances.
Are the tables going to be the most luxurious tickets to get? If I'm going to splurge on this I want to have a really amazing ticket. I know it's early but does anyone have any insight?
pathman2 said: "Can someone summarize where the best place(s) to sit will be, in terms of viewing the actual show but also experiencing the preshow, based on the London production. We plan to splurge on this one but eating/drinking in the “Pineapple Room” sounds better than at a table by the stage. Is one end (or side) of seats better? Any help would be appreciated! My Amex is ready for Wednesday!"
For the London production I think front of the dress circle is the best, on the side that has 3 levels. I found the cast facing that side more compared to the side without the balcony. Obviously can't say if it will be the same for Broadway. IMO, the immersive part throughout the theatre is much better than just being sat at one of the tables but that is personal preference. There's just way more going on and better vibe. I don't remember there being food offered but I wasn't looking for it to be fair.
From what I can see via SeatGeek's seating chart, you will want to sit on the side that includes the massive (original) mezzanine that already exists within the theatre. Unless staging will be noticeably changed for NY, the London production largely plays to that side of the theatre, but the whole endeavor takes place in the round. I would definitely get tickets on that side, and I would spring for a table if you are willing to spend the money. The tables in London were infinitely more comfortable than the ones used at Studio 54 for the previous revival and its subsequent re-revival. Those were wooden, the seats in London at least have cushioning.
And also worth mentioning that Redmayne/Buckley only did about 4 months of performances in London, presumably both had 6 month contracts including rehearsals. The cast changes every 3-4 months it seems in London, so perhaps that will be the template for the NY production as well.
Any rumors about other cast members? I'm not interested at this point and hoping that other casting news will get me on board to pay the high numbers for a ticket.
Did we know Redmayne and Rankin were only doing FOUR months?
April 1st through August 31st is five full months and is standard for this production. Also, Eddie is a massive star in the cinema world so it makes sense.
I am trying hard to remember that I am, in fact, awake.
The closest I’ve come to any clarity about this gift is that a couple of weeks ago a dear and heartbroken friend of mine reminded me about the idea of Grace. That there just might be Grace sometimes.
I have tried to find a poem, a song, an image, anything to help me express, adequately, how I feel about what this Grace means to me. What a privilege it is to get to hold hands with Sally Bowles. In our struggling world, as who I am now…I’m at a loss. I can only hope, in my interacting with this mammoth legacy I can share even a taste of the profundity my particular grip with Sally has upon my life and how grateful I am for it, to Frecks, to Eddie…the whole family. 4There are so many people who have loved me into this and when I felt too vulnerable to keep risking another dear friend said to me “There is no good reason not to.” I promise to take good care of her and I feel in awe and bolstered by the frightening soul power of
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
So, do we think the show will use Yondr Pouches or just stick with the sticker over the camera?
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Sammy232 said: "QueenAlice said: "I sort of understand what you mean dramamama, and I'll add to that, the general excitement about this production seems to already have peaked a bit. Perhaps that will change a bit when it actually opens, but audiences haven't exactly been enthralled this season by other immersive works that have taken years to get to Broadway (Here Lies Love). Plus, we have the similarly themed "Harmony" already running, plus there have been numerous revivals of "Cabaret" in NYC already. This feels like a very expensive gamble to me."
Agree - as someone who absolutely adored Alan Cumming's portrayal of the emcee and saw it several times, I can't imagine paying a bloated price for this. A regular price maybe out of curiousity, but an inflated one - definitely not. I've also heard from friends that saw it in London that it's actually not all that immersive, just the entering and exiting the theater where you wind your way through hallways (like great comet?) and that otherwise it's basically the sam mendes production down to the same cocktail tables they had at studio 54."
It's Cabaret in the round with an immersive pre-show, basically. You enter through the stage door and move through a bunch of on-theme bars and spaces. There's a pre-show performance company that performs around the bars and auditorium.
However, I would challenge that it's like the Mendez production. Frecknall has a clear vision for this production that is different from the Mendes one. The tables aren't even similar. They're totally different designs...
Alex M said: "What kind of prices are we looking at, you think? I don't mind splurging a little for good tickets but for me splurging is like $250."
I would think there will be tickets that are $250 or under, but I feel like the table seats are going to be considered premium and more like $400. I'd love to be wrong but I just think that's where we are with Broadway ticket prices right now.
Meanwhile I saw Sunset Blvd in London last week for $190 and was 4th row center.
Alex M said: "What kind of prices are we looking at, you think? I don't mind splurging a little for good tickets but for me splurging is like $250."
If you go to their ticket page on SeatGeek, it says tickets are "$99+". $99 was the minimum Music Man price and I wouldn't be surprised if this is similar to that. So $250 would probably be a nice mezz seat or a rear orch seat (my rear orch seat for Music Man was $250).
FANtomFollies said: "Alex M said: "What kind of prices are we looking at, you think? I don't mind splurging a little for good tickets but for me splurging is like $250."
I would think there will be tickets that are $250 or under, but I feel like the table seats are going to be considered premium and more like $400. I'd love to be wrong but I just think that's where we are with Broadway ticket prices right now.
Meanwhile I saw Sunset Blvd in London last week for $190 and was 4th row center."
I think $400 is low for the tables. Top price for Music Man was as high as $800, for Sweeney has been $400, for Funny Girl above $600, and for Merrily has been $600.
I would expect tables to go for more like $500-700 per seat.
I admit I am thoroughly confused by the seating chart. When trying to get the best seats for this tomorrow, should I be looking at the part of the orchestra section shown to be almost totally covered by the mezzanine overhang, or the part that looks to be barely covered by the mezz?
AllThatJazz2 said: "I admit I am thoroughly confused by the seating chart. When trying to get the best seats for this tomorrow, should I be looking at the part of the orchestra section shown to be almost totally covered by the mezzanine overhang, or the part that looks to be barely covered by the mezz?"
From a comment here and reviews on SeatPlan, it sounds like the show plays more to the side with the existing mezzanine, and the other side sees more of the backs of performers.