![]() ![]() The central tension in Singin’ In the Rain is the advent of the “talkies,” and how the fictional Monumental Studio must shift its day-to-day practices. “Make ‘Em Laugh”) with gleeful energy and adept skill for physical comedy. Here, Alastair Crosswell approaches Cosmo (Mr. Don is joined by Cosmo, the studio’s music director, attached to Don at the hip for reasons never addressed. And yes, sometimes it’s just cool to experience such advanced stage technology.īoth the film and stage show centre around fictional silent film star Don Lockwood, played by master triple-pirouetter Sam Lips. As other reviews have gushed (pun intended), this production engulfs you, stormy weather and all, in the world of a film - particularly in the titular song and its encore. These aren’t just geographic in scope they literally create weather events. Higlett also created the mammoth-sized, dynamic sets. Simon Higlett’s costumes are so colourful and bedazzled that Baz Luhrmann himself would blush. “Spectacle” is this production’s operative word. While this production of Singin’ in the Rain may bring the 1952 film to life for you, here’s why it didn’t for me. As with Mirvish’s other opening last week, just because Singin’ in the Rain is a great movie doesn’t necessarily mean it’s a great show. ![]() Splashy to the point that the first few rows get wet, some audiences will no doubt enjoy the spectacle of shimmering costumes and high-brow buffoonery.īut with a single person visibly of colour performing in a cast of 28 and motifs fifty years removed from the Roaring ‘20s, there are problems here and they are not simply representational: it’s a historical production that doesn’t address its history. Playing at the Princess of Wales Theatre through the end of October, Singin’ In the Rain is two-and-a-half-hours of tightly choreographed pastiche and joy. Potential loss of showings and possible increase in staffing costs would likely outweigh additional concession sales during an intermission.Mirvish has brought in a 2012 UK touring production of Singin’ In the Rain - get your umbrellas ready. While I like the idea of intermissions and have seen many films and shows that have them, local theaters here just aren't using a business/staffing model that would make intermissions profitable for them. Those that go to the restrooms or to the concession stand have no idea what movie anyone else is seeing and could actually discuss what would be considered spoilers for those around them. Few are going to socialize about a film unless they stay in the theater. Theaters have also cut staff and many workers get relegated to other duties when concession sales are slow, so theaters might have to hire additional staff (equals increased cost for the theater) to handle any extra demand handling concessions.Īlmost all theaters here are multiplexes with 10-20 screens and staggered showtimes for the films. That also means a loss of concession sales for that dropped showing that probably wouldn't equaled by sales during an intermission. This would likely mean theaters would have to cut at least one showing per day for newly released films. ![]() Intermissions would add to the length of time each theater is in use per showing. Most theaters where I live have reduced their operating hours from pre-COVID. There is quite a bit wrong with your lines of reasoning on this. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |