- Premium tickets: Don’t bring us your poor
Add another exclamation point to Hello, Dolly! The NY Times reports that premium tickets to the mega-hit between now and the departure of superstar Bette Midler in January will go for an eye-popping $998. That “98” sounds like Walmart marking its prices just short of the next dollar mark, and it would be nice to think that the producers are embarrassed enough to want to avoid four figures. But we know, of course, that they don’t care a whit about what anyone thinks given the overwhelming demand and limited supply for their tickets (which will actually cost $1,009 with Ticketmaster’s usurious charges, reaching four figures anyway).
Once upon a time, the theater was at least nominally an egalitarian business: you stood in line, you got your tickets when your turn came around. You knew that everyone else in an orchestra seat paid the same as you did (other than perhaps discounted day seats). Black, white, male, female, American, foreign, tall, short: everyone had an equal chance at getting a ticket. Yes, scalpers always existed, and we all knew that the rich weren’t standing in any line for their tickets. But we could comfort ourselves with the knowledge that scalping at outrageous prices was at least illegal. Now it’s the producers themselves who are charging those prices, claiming that they’re being deprived of all that illegal money. Got it? Instead of finding ways to prevent illegitimate activity, they’ve simply made it legitimate.
They have every right to do so, of course; no one is forcing the public to buy tickets, and allowing supply/demand to determine prices is the very basis of capitalism. The limited supply of tickets has to be allocated somehow, and doing that through pricing is no less legitimate than though first-come, first-served, i.e., time vs. money. What that means in real life, though, is that like elsewhere in our society, the rich go to the front of the ticket line, and you, the not-rich, go to the back. The theatrical community no longer even pretends to be treating everyone equally. Fair enough. But when the largely left-of-center Broadway community goes on about diversity and the poor and undocumented immigrants and all that, their words ring awfully hollow.
- はなれ瞽女おりん (The Blind Minstrel Orin)
10/1/17 (Sun), New National Theatre, Tokyo
The eclectic puppeteer Taira Jo is back with a series of three adult-oriented shows performed over three days. All the dramas highlight women, making for a theme of sorts, though that’s the only thing in common among them. Yesterday was Medea, a revival of the excellent production I saw some years back, and tomorrow is a piece by the aggressively avant-garde Terayama Shuji. Today’s sounded like a safer bet. This story was originally a 1974 play, which was novelized the following year and made into a film by Shinoda Masahiro in 1977 under the name “Ballad of Orin”, which I have not seen. Taira again played all the roles, helped by three hooded kurogo stagehands.
10/2/15 (Fri), Tokyo
This is Ninagawa’s revival of his first version of the show, the one that put him on the map internationally. The run was completely sold out before it opened on the strength of its considerable reputation.
The show was transported to Japan and set in the late 16th century just before strongman Tokugawa Ieyasu took power. It was somewhat off-putting to hear the Japanese soldiers call each other Macbeth and Malcolm and such – couldn’t they have worked in Japanese names somehow? – but the story holds up perfectly well in its new context. Even Lady Macbeth has plenty of evil female counterparts in Japanese dramas, especially Kabuki. The show is way too talkative and introspective for a full Kabuki treatment, where the emphasis would be on the action with only hints of Macbeth’s inner torments and such. But this samurai drama style proved a good fit.
- 禁断の裸体 (All Nudity Shall Be Punished)
4/18/15 (Sat), Tokyo
I knew nothing at all about this play, but the poster art was eye-catching, to say the least, and a bit of research indicated that it was a famous (or infamous) show by one of Brazil’s best known playwrights, Nelson Rodrigues. It also starred the great Shinobu Terajima, who was so memorable in the film Caterpillar, and Seiyo Uchino, a well known stage actor. Tickets were hard to come by, which made me all the more curious to see it. I wasn’t able to find much information on the show, so I had no idea what I was getting myself into. Continue reading
8/3/17 (Thurs), Tokyo
An encore showing of the Barbican production, filmed by the National Theatre people. This Hamlet had broken records not only on stage but in its NT Live incarnation at movie theaters two years ago thanks to the popularity of megastar Benedict Cumberbatch as the lead. While I don’t get the sex symbol thing at all, he was excellent as the monster in the NT’s Frankenstein some years back (also a sellout here in Tokyo), and I’m impressed at any TV/film star who’s willing to put himself out there in a challenging role like this. Continue reading