BTS #LLLPlay Rehearsals & Interview

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26 thoughts on “BTS #LLLPlay Rehearsals & Interview

  1. This part of the video has his image reversed, as if the camera is looking at him in a mirror (and maybe is.) You can tell because the dials on that t.v./telly behind him are on the left (left, Perry) in his shot, but on the right in the shot of Amy Ryan, and on the right when the t.v. is in (far, far) background of the shot of the young guy standing on the table. I can’t believe I just spent 20 minutes of my life figuring this out. What is wrong with me? Well, you all know and please don’t tell anyone in my family.

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    • i agree about Mr. Richard Armitage’s weight, but remember Mr. Richard Armitage lost a lot of weight when he was going to star in midlife crisis, and when that didn’t work out, along comes LLL and if you look at him ( to me) it looks like he is trying to put on some weight a little bit at a time.

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    • I read him as using the term in the general sense, in that there are institutions in the UK that sort of put the UK national theater on the map, and there’s no comparable group of institutions in the U.S., no one theater or group of theaters that people think of as definitive, pathbreaking, or representative of US theater as a whole. I agree the remark is ambiguous, though.

      The issue is that “British theatre” is a thing that people in the UK are tremendously proud of, if what my UK friends tell me is true. It’s a goal for training students to work in this tradition, there’s an ethos around making it accessible to broad audiences, it’s heavily publicly subsidized, etc. — truly a matter of British national identity. He’s right that there isn’t a comparable moment in American culture, IMO.

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        • Let’s say — they’re a different kind of priority. Given how much Americans spend on entertainment in the form of film and music, for instance, we can’t say that we don’t prioritize the arts. But we don’t have any sense about entitlement to access. If you think about how The Crucible tickets were sold — there was a contingent made available only for people who live in the neighborhood of the theater, a contingent only for young people, there were school classes in the theater for every Wednesday and Saturday matinee, and when tickets became scarcer prices did not rise. (And as I remember the Old Vic was not even publicly funded.) The theaters with really hot ticket pieces (Barbican, e.g.) have programs in place to at least try to prevent scalping. To some extent this is changing (just in the way that LLL points out that certain kinds of opportunities are being restricted) but it’s still a noticeable difference. A London theatergoer finds a ticket that costs more than 50 GBP usurious.

          Compare this to NYC, where his New York counterpart thinks $130 USD is a reasonable price. Roundabout is a non-profit, but they also use demand pricing (tix for LLL will probably go up to at least $125 if the reviews are good), and yet they ran a deficit last year. Right now the cheapest ticket price for Hamilton is in the mid four hundred dollars and at times has been as high as $1300. The attitude in the US is sort of “whatever the traffic will bear” and that affects the nature of the market and what is on offer.

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