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Bạn đang tìm kiếm từ khóa Are Theatre previews worth going to? được Cập Nhật vào lúc : 2022-03-12 05:29:21 . Với phương châm chia sẻ Bí kíp Hướng dẫn trong nội dung bài viết một cách Chi Tiết 2022. Nếu sau khi tìm hiểu thêm nội dung bài viết vẫn ko hiểu thì hoàn toàn có thể lại Comments ở cuối bài để Ad lý giải và hướng dẫn lại nha.

It’s a busy week on Broadway as curtains rise on almost half of this season’s new shows — but most of them won’t officially open until next month. It’s the beginning of fall previews, when you can start seeing shows that have moved out of rehearsal rooms and onto the stage, but are not quite finished yet.

The difference between “on sale” and “open” can be confusing even for veteran ticket-buyers, so here are the five things to know before you book a show.

You’re seeing an unfinished product

Broadway plays typically spend between two and five weeks in previews before they open. This period might be shorter if the production already had several successful workshops, an out-of-town run or a staging off-Broadway. If you know that’s the case, you can usually feel more confident buying preview seats.

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If the show is new, however, previews give it a chance to make money before it’s finalized (or “frozen” in industry language) and to try out the material in front of a live audience. But it also means you’re not seeing the official version. Scenes may change, entire roles may be eliminated, or songs may be moved — or removed entirely, as it happened with a couple numbers from “Hamilton” between its off-Broadway run and the transition to the Richard Rodgers Theatre. There may also be technical elements to be worked out in terms of staging or lighting.

There’s no way to know when in the preview process a show is frozen, only that it will be by opening night.

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Your seats may be cheaper

Traditionally, preview seats cost less than they would after opening night because sellers know audiences are not necessarily seeing a finished product, and they may even endure minor hiccups during the performance.

These days, the gap in pricing before and after is much narrower, and sometimes doesn’t exist. Newspaper drama “The Front Page,” which starts previews a full month before opening on Oct. 20, shows no pricing difference in tickets between September and November. But the experimental Amazon jungle drama “The Encounter” is selling seats for about $10-$20 less ahead of its opening on Sept. 29.

Note that there are almost always more discounts offered during previews, so the theater’s box office isn’t the only place to find savings.

You may have a better time

If a show isn’t well known or doesn’t have an all-star cast, the best seats in the house aren’t going to sell out in the first few weeks. This is when you can choose from a wide array of excellent views that you can actually afford, especially if you buy seats as soon as tickets go on sale.

Do you know who else sees preview? Friends and family of the cast and crew, industry insiders and certain groups who help promote the show, such as concierges and ticket sellers. The atmosphere in this kind of house is almost always fun — people who are getting comped or cheap seats, and those who know people in the show, can be an excellent, supportive, less judgmental crowd that keeps the energy in the room high all night.

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You can see it first and form your own opinion

Close to opening night, shows will begin to invite press to select performances. Critics used to see the show on opening night, but now they usually come a night or two ahead (but after the show is “frozen”) to write their reviews. So if you see an earlier preview, you won’t be swayed by anything you’ve already read about the performance.

There’s also the bonus of saying that you saw it before anyone else (even if you didn’t necessarily see the same version as future attendees). Bonus bragging rights if it gets rave reviews after its premiere and tickets become impossible to get.

You’ll get to see how the show develops

One of the main reasons theater lovers deliberately try to see previews is that it’s a unique opportunity to see a show in its raw form and catalog firsthand how the show changes over time. Some plays have famously transformed extensively throughout the preview process (“Spider-Man: Turn Off the Dark”), while others go on to be classics and only the people who were there in early weeks can claim they saw an “early draft” of it.

A show can play for years, go on tour and even experience several revivals, but no one’s ever going to see the exact version of the show that preview audiences did — in fact, previewers might not even be seeing the same show from one night to the next. For many, that’s just another thrilling bonus of getting to see live theater on Broadway.

It’s rare for a reader to get hold of the unedited manuscript of a novel, or for cinemagoers outside test screenings to see the rough cut of a movie. Theatre, though, is forced to share its work in progress.

Officially, I should scarcely ever have seen a preview, as they’re known, as reviewers are almost always kept away until the designated press night, which generally occur between three and 30 days after the first public performance or, in the case of Bono and U2’s ill-fated Spider-Man musical, after 182 (and even then the critics collectively decided to defy the producers and file reviews before the revised press night).

However, I am sometimes, with permission, admitted to previews for research reasons – often when I’m interviewing people for the Guardian, radio and TV – and so have had an unusual level of exposure to the form. As some of Britain’s theatre PRs are notably stern in their protection of the critical embargo, this piece should not be taken as a review of any individual preview performances, but of the general phenomenon of previewing.

Some take the brutal view that previews are an unjustifiable indulgence, believing that public opinions should be permitted as soon as an audience is paying money for tickets. And, increasingly, new social truyền thông mean that it’s only accredited critics who are silent until the official opening night. Bloggers and tweeters spread their verdicts as soon as a production lets in customers, to the fury of many professionals – including Andrew Lloyd Webber, who objected to an internet-led chiến dịch against his Phantom of the Opera sequel Love Never Dies, including a website called Love Should Die – Phantom Needs No Sequel.

The lord’s complaint is that part of the gestation of a show is adjusting the material and performances to the presence of an audience, and so a period is necessary when the show is in effect a prototype being tried out on focus groups who – because they are seeing something unfinished – are offered discounted tickets. This is clearly the case with comedies: I watched early previews of the Donmar’s The Recruiting Officer and the current West End revival of Neil Simon’s The Sunshine Boys, and any imperfection wasn’t to do with unlearned lines or screwed-up moves, but the retiming to accommodate audience laughter. Though less obviously and audibly than with comedies, all shows are a collaboration between performers and audiences, and so it’s reasonable to contend that this relationship benefits from the fine-tuning of previews.

A problem with this argument, though, is that lengthy test periods for productions – a habit that developed on Broadway – were not driven by courtesy towards performers, but by the neurosis of producers. With budgets so expensive in commercial theatre, backers wanted to give themselves time to turn lead into gold if a show reached the stage lacking shine.

Even so, there is a limit to what can be fixed. Peter Hall comments in one of the most revealing books about theatre ever published, his diaries of running the National Theatre , that he has never known a case in which a production that failed to engage its audience the first preview could be transformed by press night. This has certainly proved true of the initial performances I’ve seen: you can see where pace and confidence and fluency with props and stage business will improve, but a dud script remains just as bad several months later – as Spider-Man: The Musical proved.

In my view, some directors and theatres have become too neurotic about critic-proof previews. Most actors have enough professional self-respect to reach the first public performance in viewable shape, especially older performers who date from the 1950s and 60s when plays would often be declared open after perhaps only one public dress rehearsal (and most opera productions do exactly this, despite the fact that shows are often much more technically complex). Paradoxically, some of the early previews I have seen have been more accomplished than when press night finally arrives, presumably because of the nervous impact on actors of so many critics in the audience.

Intriguingly, one leading theatre director told me that the real problem during previews can often be not that the performers are unready, but that the theatregoers are: especially with new comedies or plays with challenging subject-matter, audiences often like to have external evidence that the production is funny or good. Which could be a case for letting in critics earlier, and encouraging preview viewers to share their opinions.

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