phantom:west end

LISTEN UP BROADWAY FANDOMS

You are allowed to like the movie over the stage production. 

You are allowed to walk in a theatre without knowledge of anything.

You are allowed to watch Les Mis, Wicked, Hamilton, or Phantom only and like musicals. 

You are allowed to not be character wannabes.

You are allowed to share the love of musicals without needing to know everything in it. 

Enjoltaire on the west end

I went to see Les Miserables tonight, and boy was I shocked at the Enjolras and Grantaire interactions.

Enjolras - Jonny Purchase
Grantaire - Andy Conaghan

I’m going to have to list the details because if not it’ll be a mess:

1. Red and Black started off how I expected; Grantaire being sarcastic and teasing with Marius. Enjolras reacted nicely to this and just smiled, which made me realise that the dynamic would be friendly.

2. ‘Grantaire put the bottle down’ was said quite loudly, but he was smiling so i was still content.

3. During the transition to DYHTPS, Grantaire hung towards the back of the group and didn’t participate so Enjolras walked over to him and grabbed his arm, and kind off made join in.

4. Throughout all the barricade scenes, Grantaire was on the side lines watching Enjolras, which I liked.

5. After R’s solo in drink with me, they stood across from each other, stared at each other for a few seconds, and then intensely hugged.

6. When Gav died, Taire was full on crying and Enjolras hugged him again.

7. When Marius is shot during the final battle, both R and Enj are making sure he’s okay, and then they both hug. Enjolras then goes to the top of the barricade and waves the flag, and R climbs up the barricade and they shared a moment before Enj died. Enj falls forward on the barricade, and then R stands in his place and is killed.


Other moments I liked:

- Grantaire and Gavroche had such a cute relationship, with Grantaire protecting him as much as he can

- Eponine and Grantaire interacted, which I’ve never seen before

- Marius punched Parnasse and I nearly died

- Grantaire was actually perfect, I’ve never seen a portrayal as close to how I imagine him in my head

idea for a new broadway musical

-main character is an 11 year old girl who runs away from home and meets a family of 4 who drank from a spring in her family’s woods and are now immortal

-she falls in love with the 17 year old son and he gives her a bottle of the water from the spring, telling her to drink it in 6 years so they can marry

-evil man who wants to sell the water tracks the family down and the mum kills him, so the family have to leave and the girl has to decide whether to drink the water

-it’s literally just tuck everlasting

-please revive tuck everlasting it was so young it didn’t deserve to die

“Hamilton” and the new “Harry Potter” play are the hottest theatrical shows of the moment, with “Hamilton” outgrossing everything else on Broadway, and Harry, Hermione and Ron drawing hordes of muggles to London’s West End.


But success has a side effect: Both shows have fallen prey to high-tech scalpers who harvest large quantities of seats and resell them at exorbitant markups. “Hamilton” has been hit particularly hard: When it first opened on Broadway, nearly 80 percent of seats were purchased by automated ticket bots, and for Lin-Manuel Miranda’s final performance, resellers were seeking an average of $10,900 a seat.


Now, as “Hamilton” prepares to open in London this fall and “Harry Potter” plans to open on Broadway next year, the producers of both shows are aggressively trying to contain scalping, a long-festering problem for the entertainment industry that has been exacerbated by technology. The producers of “Hamilton” are trying an unusual approach for theater — paperless ticketing — while the producers of “Harry Potter” are refusing to accept resold tickets.


And in the United States and Britain, policy makers are tackling the issue anew, concerned about the effect of industrialized scalping on consumers and artists.


[…]


Picture this: Instead of receiving a traditional ticket from the box office or a facsimile printed at home, you just get an email confirming your purchase. Then, on the day of the show, you have to bring the same credit card you used for the purchase — as well as the email confirmation and a photo ID — and run the credit card through a scanner to get in. The theory is that requiring the same credit card for purchase and entrance should complicate efforts by would-be resellers.


“Going to the theater is expensive enough as it is with the money that you need to charge to put these big shows on, so it’s absolutely ridiculous for it to be inflated by third parties,” Mr. Mackintosh said.


There are downsides: It makes it harder to purchase tickets as gifts, and there is a risk of congestion or confusion at the theater doors. And the method is not fail-safe. On the day “Hamilton” tickets went on sale in London, with a face value of up to $200, tickets were already being promoted for resale at up to $6,000. Their validity was unknown — the show has vowed to cancel resold tickets — but in theory, a reseller could try to circumvent the system by accompanying customers to the show.


For now, paperless ticketing does not appear to be an option in New York, which restricts such sales. There, “Hamilton” has tried a different approach: reducing the effect of resellers by canceling suspect purchases, and, more recently, by raising prices at the box office to more closely reflect the tickets’ perceived market value. […]

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Willemijn Verkaik back on stage again in Wicked.