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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

NEW LONDON THEATRE

 

GONE WITH THE WIND (musical)

Scarlett O'Hara is a Southern Belle, too polite to burp and so relieve her problems... er... sorry, that is another version of the show... This one is her life story from the age of 17 in the 1860's. Set against the American Civil War and mixing love and tragedy, Trevor Nunn directs this latest attempt to bring an epic to the stage.

Readers may also be interested to know that the following book is now available:

CLARK GABLE "Tormented Star"
by DAVID BRET

A eye-opening new biography that pulls no punches - includes sensational new material

Clark Gable was perceived as the archetypal Hollywood hero, the kind of man women lusted after and their husbands envied. But as David Bret reveals in this powerful biography, in the early days of his career Gable was more a man’s man than a ladies’ man, displaying strong bisexual tendencies - a facet of his complex personality airbrushed out of his story by the conservative Hollywood studios. Indeed, Gable’s first two wives, both considerably older than him, were themselves sexually ambiguous. Not surprisingly, Gable was soon taken up by such ‘Sewing Circle’ stars as Jean Harlow and Carole Lombard, the great love of his life...

David Bret is one of Britain’s leading show business biographers. His many successful books include biographies of Edith Piaf (also published by JR Books), Maria Callas, Marlene Dietrich, Tallulah Bankhead and Joan Crawford.
 

 

Theatremonkey Opinion:

Not available.

 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

The latest reviews are below. For earlier ones, click here.
______________________________________________________________

Saw the Friday, April 25th 2008 show. Stalls seat E34. Seats were good, although a side view of the thrust stage.

(Mind you I am a huge fan of the movie and Clark Gable and Vivian Leigh.)

The set was decent, everything built out of old and rustic looking wooden panels. At times though I thought I was watching the 'Bear County Jamboree' at Disneyland. Everything on the set was brown and it lacked the vibrant and rich bright colours that made the Movie so beautiful. The set seemed very low cost, in comparison to say, the 'Lord of the Rings' production. There is much more they could have done but didn't. For example the Atlanta Fire was a mere flame, and this is a limp effort compared to the Monsoon sequence right before the interval for 'LOTR.'

While Darius Danesh and Jill Paice look the part of Rhett and Scarlett, I found their performance to be caricature's of Clark Gable and Vivian Leigh. Nothing original from either one of them and yet there imitations go only skin deep.

This is not too problematic however as it is to be expected that they mimic the audience's expectations of the movie and it would be asking too much to become the Great Gable or Vivian Leigh, who was Scarlett Ohara.

The main problem with the musical though, is the amateur Music and Lyrics by the novice American playwright. Neither Trevor Nunn, or any of the actors can overcome this tremendous shortcoming in this production. The songs are amateur, not at all memorable, and I really don't "rate" the writer's composition. It is beyond me how a production of this Magnitude can have music and lyrics written by a novice playwright working on their first production.

There is not one tune I can remember and nothing worth humming. As the whole production is centred on the songs, since the acting and scenes just mime the movie, what we are left with is an unwatchable trainwreck that borders on a 'Simpson's' musical parody of 'Gone with the Wind.'

It is worth watching once (for a discounted or free ticket) for the novelty value and curiosity for any GWTW fan, but I would not waste my time or money watching this a second time.

PenguinBear

___________________________

I went to see the matinee on Saturday 12th April 2008 and yes, it is long... but then so is the film!

I sat in Row J some of the cheapest seats and was so near the action that I could really get involved with the story. I doubt that there is a duff seat here. I loved the way that, unlike ‘Lord of the Rings,’ this musical did not rely on special effects but instead was a true ensemble piece. The acting was spot on and certainly brought tears to my eyes a couple of times without tipping into sentimentality. Darius was dashing and, once I had stopped marvelling at the minute size of Jill Paice’s waist, she became Scarlett.

By the end of the first half I had forgotten the film and felt like I was watching a brand new drama unfolding. I think if you like razzmatazz and 'show stoppers' then maybe it is not for you; but if you like an epic story beautifully told then walk into the theatre and enter Georgia...and enjoy!

LM
____________________________

I saw a preview last Thursday (17th April 2008), after the show had been mercifully shortened. But at 3hours 35 minutes and a 5 or 6 minute late start, it still ensured the audience could not escape before about 11.10pm or so. Quite difficult for those with last trains to catch. Be warned! – unless they shorten it even more.

Anyway, overall it was a very disappointing evening. Considering the pedigree of many involved, one could have hoped for much better, if not great things. Sadly not so. Dull is the kindest thing one can say. Average performances which lacked passion, completely unmemorable – even unmelodic music and a less than inspired design all contributed to a long and rather mediocre evening.

Jill Paice did not seem at her best and as for Darius, well he just seemed to want to be Clark Gable. And he wasn’t! At the interval people behind me were even contemplating if they would stay for the second half. And the man sat next to me thought it “boring” – although his wife was enjoying it.

All that said, others I know have enjoyed it – so maybe it will be one of those shows which divide opinions passionately. Personally, it was a big disappointment and anyone wanting a big musical with memorable tunes, stirring performances and some illustration of where all the money has been spent should stay away. And £60 for a top price seat ? No, no, don’t waste your money.

Ray
______________________________

I had read so many bad reviews of 'Gone with the Wind' I didn't really know what to expect so I went along with an open mind. I have to say that the night was very positive and I overall enjoyed the show. It was an engaging piece of theatre with impressive sets and costumes. The lead characters were well cast and the plot moved along swiftly for the most part. The girl playing Scarlet O'Hara was superb and Darius playing Rhett surprised me with his maturity in the role. The 30 strong cast meant that that there was lots of action on the stage which was exciting to be a part of.


We sat in seat F 30/31. There were at the side of the stage on the second row and very close to the action. Being at the side didn't really hinder the view and the pitch was fine. You had to look up slightly but nothing too extreme. For the money they were good seats if you like being in the thick of it! Incidentally at least a quarter of the seats were empty which I felt was a shame but meant you could move if you didn't like your seat!!


However, I do agree with the critics in that is ridiculously long at 3 hours and 40 minutes - with it finishing at 11.10pm, which was too late in my opinion. The first half was an hour and a half and I didn't look at my watch once - but the second half at 1 hour 50 or so dragged. If it could be cut by 30 minutes it would be fine but I don't see how they can cut out any more and keep the flow of the storyline.

Perhaps GWTW just isn't meant to be on the stage. I also am not sure what the songs added. There were twp that were vaguely memorable but the rest passed me by and I think that they could have just left out the music all together and cut the running time. I have read that this musical may be axed soon, which I think would be a shame. If you like the film then I think that you would probably like this show - go and see it - after all there are plenty of seats available!!

Bas - London
______________________

I saw 'Gone with the Wind' the second week of preview and we sat in the Dress Circle in the middle of row A next to the aisle. We had a perfect view of the stage and there was a lot of space for our legs! I really enjoyed the show!

Teresa



 

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Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday 7pm
Tuesday to Saturday at 7.30pm
Wednesday and Saturday at 2.30pm

Runs 3 hours approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Stalls:
All seats £60 except:
Row E 1 to 7 and 26 to 32; F 1 to 8 and 30 to 37; G 1 to 9 and 34 to 42; H 1 to 10 and 38 to 47: £50
Row I 1 to 10 and 37 to 46; J 1 to 10 and 43 to 52; K 0 to 10 and 46 to 56: £32.50
Row L 1 to 10 and 51 to 60; M 3 to 10 and 58 to 65: £27.50

Dress Circle:
Centre Block
All seats £60 except:
Row A  27 to 66; B 30, 31, 70, 71; C 5, 6, 48, 49: £50

Side Blocks
All seats £32.50 except:
Restricted View row A 1, 2, 91, 92 and B 2, 3, 98, 99: £17.50
 

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here


Buying Tickets Through the Venue:

More Ticket Buying Options

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems.
Theatre Box Office:
Telephone: 0870 830 0200
(  020 7087 7500 if you cannot use the 0870 number)
Operated by See Tickets on behalf of the venue.

Online: www.seetickets.com provide the service for this theatre.

Other Online Booking Options: click here.
 

Booking fees per ticket for telephone and online bookings:
£2.50 on £60 seats, £2 on £50 and £40 seats, £1.50 on all other tickets.

For personal callers or by post: Drury Lane, London. WC2B 5PW
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 020 7087 7960 or 0870 895 5505 (Minicom 020 7087 7839) and enquire about concessionary prices that may be available to them.

 

More Ticket Buying Options: Using S.T.A.R. genuine ticket agencies.
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers May be available - Click Here

When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, which offers £60 seats with a £6 per ticket booking fee. Moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is through Ticketmaster.co.uk, who offer £60 seats with a £3.60 per ticket booking fee (£3 on £50 seats), plus a £2.25 handling fee for your booking on top of that).

Encore Tickets offer £60 seats with a £15 booking fee per ticket - plus optional UK postage of £1 per booking, not per ticket, available if time allows. Discounted tickets, Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

 

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.
 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

For 2008, the auditorium will be slightly altered. The monkey provides a "first look" opinion, based on a short visit. Obviously it takes time for a new venue to "settle in", and reader comments are particularly welcome: Contact Us.
 

Seating Plan Diagram

Stalls Dress Circle Notes

STALLS 
The stalls is divided into front and rear sections by an aisle in front of row I. The Dress Circle overhangs the stalls at row R, and does not affect the view of the stage from any seat.

The front section of the theatre, rows A to H is due to undergo some re-design for "Gone With the Wind" (April 2008). The monkey will post details when available. Currently it is shown to be surrounding half the stage.

The rear section of the stalls is also divided into a central and two side sections, and is almost unchanged since "Cats" closed and the theatre reverted back to a standard format. New seating has narrowed the aisles slightly, and some rows have been raised a little as well, improving sightlines further.

THE LAYOUT IS EXPECTED TO BE UNCHANGED FOR "GONE WITH THE WIND" (APRIL 2008) BUT ADVISE HERE IS SUBJECT TO REVISION WHEN SIGHTLINES AND STAGING ARE CONFIRMED.

A reader says, for "Gone With the Wind,":
"Stalls seat E34. Seats were good, although a side view of the thrust stage."

Reader Bas adds,
"We sat in seat F 30 and 31. There were at the side of the stage on the second row and very close to the action. Being at the side didn't really hinder the view and the pitch was fine. You had to look up slightly but nothing too extreme. For the money they were good seats if you like being in the thick of it!"

The centre rear block of stalls offers a good rake. Rows J 19 to 34, K 20 to 36, L 22 to 39 and M 23 to 46 are as good as centre front block rows E to H. There are stairwells at either end of these rows but the view is fine.

A reader notes:
"Warning.....seats in row I are almost on the same level as seats in row H so be prepared for a blocked view!!"

A warning worth heeding, feels the monkey, who was depressed at the results of an experiment carried out to test this report.

Row M seats 23, 24, 45 and 46 have only gangways in front - no seats - and, being elevated, offer a combination of prime views and comfort.

Row N seats 11 to 15 and 41 to 45 are behind stairwell walls with a bar on the top. Thanks to generous legroom, the view is unaffected - the distance cancels out any issue - except for those under five foot tall, who will find the bar in front mildly annoying.

Rows N to P offer a good view at a fair price. Perhaps take the first and last few seats in O and P second if you are shorter and are worried by a stairwell in front, but for everyone else these rows are a must, feels the monkey. Rows R and S feel a little further back, but still nicely close to the thrust stage. As ever in this theatre, rows T and U, at second price may feel a fair way from the stage due to the rake. The very ends of these two rows may be disturbed by folk clomping up the aisle, but no good reason to miss them. The central view has been noted as highly desirable by several readers who have commented.

The rear section side blocks of the stalls wrap around the sides of the theatre, curving inwards to give a good intimacy with the stage. These rows are being extended for "Gone With the Wind" - the monkey will post information when available. The only problem it anticipates is that the first and last few seats - the monkey estimates around six or so in each row can't usually see into the space behind the proscenium arch. Being further back is the way to go here and the seats nearest the centre aisle are the first to aim for the monkey feels. Be aware that most centre block seats are priced the same, though, and try for them first.

A reader at "Gone With the Wind" reports,
"We sat in seats N17 and N16 - excellent view of the stage. I would say that Row N 17 to 30 and O 17 to 30 provide the best overall view. The stage is is a rounded apron; a small scale version of the National's Oliver's stage and as a result the sight lines will be good for most seats. There is a balcony platform on the stage and this expands into the dress circle area. Actors do speak from these side balconies but they merely describe the story and you miss no action if you were sitting in seats below these side balconies."

A few rows in front, another says,
"I sat in the stalls K25 and had a marvellous view of the stage. Some of the action took place in the walkway behind row I of the stalls with actors on several occasions crossing or dancing through, so anyone sitting in front would have had to twist round or miss it, especially the tearful reunion between Ashleigh and his wife.

Row K was perfect with knees level with the head of the person in front, there was an unimpeded view of the stage with the theatre goer's eyeline level with that of the actors."

Another, in the cheaper seats says,
"Row J, some of the cheapest seats - was so near the action that I could really get involved with the story. I doubt that there is a duff seat here."

Wheelchair users have a choice. Either row S seats 1 and 2 can be removed, for a chair to be parked, or else a normal office style chair with arms can be placed there for wheelchair users to transfer into. This is a pretty good viewing position as wheelchair spaces go, though it is a bit of a shame that the old row J position has been removed - it was that bit closer to the front. See notes for further information.

Legroom is good in most seats, slightly less in rows S to U. It is excellent in rows H and I and row M seats 23, 24, 45 and 46.



DRESS CIRCLE 
Nothing overhangs this circle. It is still a narrow shelf, unchanged since "Cats" left, except that the side additions which extended outwards are now gone.

The circle is split into a large central, and four side blocks, by aisles.

THIS LAYOUT IS NEW FOR "GONE WITH THE WIND" (APRIL 2008), SO ADVISE HERE IS SUBJECT TO REVISION WHEN SIGHTLINES AND STAGING ARE CONFIRMED.

A high metal bar runs across the front of the centre block of the circle, and beyond it is a short lip of concrete before the plunge to the stalls. The view in row A is affected by the bars but the extra concrete ahead may re-assure the vertigo sufferer seated here a little. Those in row B may not be too keen on the bars in view either, but it is far less and the stage is clear beyond them.

Reader Teresa says,
"I saw 'Gone with the Wind' from the middle of row A next to the aisle. We had a perfect view of the stage and there was a lot of space for our legs!"

The bars at the front of the circle increases to double height at the ends of the circle aisles. Along with the metal posts at the ends of rows B to D, they cut into the view significantly. In fact, the monkey rates D 1 and 44 as the two worst seats in the place - enough metal in view to keep an orthodontist happy for years.

The central block is a narrow ledge of five well-raked rows. Choose row C 7 to 43 or D seats 5 to 40 first. Along with row C, though, also consider central block rear stalls at the same price too. At lower prices, think about row A if bars are not a problem for you. Row E does not feel too remote from the action if the bars are a problem.

A reader says of row D,
"D25. Froze for the entire 3 hours 40 minutes running time as I sat under an air conditioning vent."

In the next side blocks, seating has been extended out along the side walls. The monkey hopes for an adequate view - usual safety rail issues in front of A, though. Not a bad choice if the central block is full. A further block of seating extends further along the edges of the theatre. The monkey will post opinions on this when available after the show has opened.

The monkey compared the feel of this circle with that of the Olivier auditorium at the National Theatre. If you are happy seated in rows D or E of that theatre, then D and E here are comparable, it feels.

Just adequate legroom in all seats, much more in row A if the bars aren't an issue with you.



Notes

1072 seats, plus wheelchair places.

Air-conditioned auditorium.

Infrared headsets available. Occasional signed performances. Guide dog sitter available. Adapted unisex toilet - sadly they could not find space to fit two, gender segregated ones. The existing one is well equipped, though. 

Access to auditorium for chair users is difficult. Users enter via the stage door, where a portable ramp is placed over two large shallow stairs to bring your chair down to floor level. 

At this point, any chair wider than around 50cm must be surrendered; and the occupant transferred into a small chair provided by the theatre. This is to allow users to get into the tiny elevator up to the fourth floor. A 90 degree turn must also be negotiated in the one - metre square elevator in order to exit at the correct level.

On arrival at the fourth floor, access to the theatre is gained by a 50 metre walk  / push along a narrow corridor (superb view from the windows!). This corridor also houses the adapted toilet. Entering via door 4 into the theatre is flat and wheelchair users have a choice. Either row S seats 1 and 2 can be removed, for a chair to be parked, or else a normal office style chair with arms can be placed there for wheelchair users to transfer into. Wheelchair users who can make the move are also welcome to transfer into normal theatre seats in that area of the stalls too. The view from all available seats in that area is pretty good, making the choice a broad one.

Specific information from www.seetickets.com or 0870 895 5505 or e-mail customer.relations@rutheatres.com.

No food except confectionery and Ice cream.

Two bars at stalls level.

8 toilets in all; Ground floor foyer 1 gents 2 cubicles, 1 ladies 6 cubicles; Stalls 1 gents 1 cubicle, 1 ladies 4 cubicles, 1 unisex disabled. Dress Circle 2 gents 1 cubicle each, 2 ladies 3 cubicles each.

One reader comments of the 'Ladies' facilities in December 2007,
"The facilities on our level were along a narrow corridor with the Gents at the far end; this meant that all the men had to push past and through the queuing ladies - and Boy! was there a queue. Packed theatre, only 3 cubicles, one of which was out of order. By the time we emerged the queue stretched down the stairs and they had to extend the interval to accommodate everyone.

At another performance things were a little better, mainly because the theatre wasn't full but this time we were on the opposite side and one of the cubicles had a broken lock so a lot of whistling and shouting was going on in there. Lavatories none too clean, either, the ones on Kings Cross station on our way home were much better."

The monkey thanks Berni, Terry and all in the box office for their help in providing this information. Much appreciated.

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Holborn - Piccadilly Line (dark blue) and Central Line (red).

Plan your tube journey to this station using the button below:

A photograph illustrated version of this walking route is available by clicking here.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.

 

There are two exits from this station. 

If you see, on leaving the station, a branch of McDonalds ahead of you on the opposite side of the road then do not cross this road, just turn left and walk to the four way crossroads. If you come to a three way cross roads, wrong way.

If you leave the station and see ahead of you on the other side of the road a glass building with a "Sainsbury" sign ahead of you.... turn right and walk to the four way crossroads a few paces away. Then...

At the crossroads, Cross straight over the road and walk straight on passing the glass "Sainsbury" building. You are now on a street called "High Holborn". If you pass a church or the Shaw Theatre, wrong way.

The next street you come to is Newton Street. Turn left into it and walk along it, changing to the other side of the road when possible. Cross Macklin Street when you come to it and continue to the next corner with Parker Street. Turn right at this corner into Parker Street and walk straight on to the New London Theatre, which is on the right hand side of the road.

 

Buses:
1, 68, 91, 168, 171, 188, 501, 505, 521, X68 all stop on Kingsway. Walk up Parker Street to the theatre.

 

Car Park:
In Parker Street, under the theatre.
 
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