|re: This play felt like nothing really happens...|
|Posted by: JereNYC (JereNYC@aol.com) 11:28 pm EDT 07/26/20|
|In reply to: re: This play felt like nothing really happens... - StageLover 10:11 am EDT 07/25/20|
|I'm glad that you had a good experience and enjoyed the play. But the disparity in our experiences at the production just underlines the point I was trying to make. If my balcony seat was so bad that I could neither see nor hear the play properly, it should not have been sold to me at any price. No matter the Kerr's size, it was too big for this little play. I have sat in the balcony there for other productions and not had a problem seeing or hearing. For THE WEIR, the balcony should have been closed or the creative staff should have adjusted the lighting and/or the sound.
As a ticket buyer, I am not in a position to know how good or bad a seat will be prior to seeing the show. I can only assume that, if the box office is selling me that ticket, that ticket will allow me to see and hear the production (barring seats that are designated as partial view, of course). I was not complaining that my view wasn't as good as that of someone in the orchestra...I was noting that the lighting was dim enough that I had trouble seeing at all and that the sound was quiet enough that I had trouble hearing. I seriously doubt anyone from the creative staff ever sat in the balcony for a run through, which, if they're charging for the seats, someone should probably have done.
And, as I said, when I saw a later production at a more intimate theatre, I got so much more out of the play. I was dragged to the Arden by a friend in Philadelphia, but even the Arden's larger performing space is so much more intimate that any Broadway theatre. This time, I don't even remember where I sat, but it felt like I was sitting in that pub with the characters and I enjoyed the experience so much more.
This is a play that probably should not have been on Broadway and, instead, gone to a smaller off-Broadway house that would have afforded every audience member with the intimacy that you had from the orchestra at the Kerr. But, as I wrote, THE WEIR came to New York at a moment when contemporary Irish plays were THE thing and going to Broadway is the Holy Grail of the theatre. So, I imagine that the producers took their shot because that's what every Irish play was doing. I just with they'd done a better job of it.
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