Walter Plinge says...
"Producers and theatres hire certain physical elements of their shows: costumes, scenery, furniture, props, musical instruments, music stands, lighting and sound equipment rather than buy them, in order to reduce the up front production costs."

Walter Plinge says...
"As far as I know it has not been published, but you could try contacting Samuel French who have published his other plays. If they haven't or don't plan to publish it, they should be able to give you the name of his literary agent, who may be able to help you."

Walter Plinge says...
"If you look below, you will find I have already answered this and many other frequently asked questions. "

Walter Plinge says...
"It depends whether you want to have the chandelier come crashing down on your head or not! Surprisingly, you get a more dramatic view from the Royal Circle as it goes past you, than you do from being directly underneath it as it comes towards you, because there is not the same sense of movement. Actually, the best place to see it is in New York, because it falls faster there."

Walter Plinge says...
"You've got me on that one. Try contacting the archivist at Really Useful Group who manage affairs of Andrew Lloyd Webber "

Walter Plinge says...
"Shows are not generally released to the amateur market until they have exhaused their West End potential. I believe that the show is being reshaped during the Christmas break in the tour schedule, before it opens in the West End in April, so I would say that was some time away."

Walter Plinge says...
"Go to the horse's mouth (so to speak) - ask Children In Need themselves."

Walter Plinge says...
"He will be performing in concert at the Duke of York’s Theatre from 8th to 18th January."

Walter Plinge says...
"The affairs of Andrew Lloyd Webber are managed by Really Useful Group."

Walter Plinge says...
"As the London Coliseum is one of the masterpieces by Frank Matcham, the world's greatest theatre architect, you get a good view wherever you sit. As I have said many times before, whether you prefer Stalls or Dress Circle is purely a matter of personal choice. If you like to be close to the stage and feel part of the action, then the front Stalls is the place to sit, although you will be looking up. If you like to have a wider overall view, then the Dress Circle, further back and in a slightly elevated position, looking down on the performers (as most people do in real life) is the place for you. Remember that Boxes are for being seen in - while closer, they inevitably offer a side view (but you may well be able to see unscheduled action in the wings if that appeals to you)."

Walter Plinge says...
"It is cast in house by Walt Disney Theatrical UK based at the Lyceum Theatre, with open auditions advertised in The Stage newspaper. N.B. There is a minimum height restriction. They have just had cast replacements and do not have a date set for the next auditions."

Walter Plinge says...
"I've answered this question a number of times before in general terms - see below - and in order not to bore people, don't offer advice on specific theatres. However, in the case of The Mousetrap, I'm tempted to suggest across the road in The Ivy restaurant. It is always best to buy tickets direct from the theatre box office - whether by phone or online. However, this is increasingly difficult as more and more theatres have 'sold off' phone and online booking facilities to the agents Ticketmaster, Keith Prowse or See Tickets, who add exorbitant 'service' charges (a misnomer if ever there was one). The good news is that you can still call the St Martin's Theatre direct on 020 7836 1443."

Walter Plinge says...
"Not really, I'm afraid. The closest it will come to Birmingham is Malvern Festival Theatre from 1st to 6th December."

Walter Plinge says...
"The Stalls - particularly if you get an aisle seat."

Walter Plinge says...
"It used to be the case that the leads in West End shows performed all 8 shows a week. Sadly, along with the deterioration in the quality of many other things in life, this can no longer be guaranteed - particularly with the proliferation of inexperienced or amateur performers cast from 'reality' television shows. It is now not unusual for there to be an ‘alternate’ (rather than understudy) who plays 2 or more shows a week."

Walter Plinge says...
"You can find links to costumiers in Suppliers in the Links section of TheatreNet, or, try going to the source, and ask the show's producer, Andrew Lloyd Webber's Really Useful Group."

Walter Plinge says...
"Once again, as I keep saying, it depends on what your personal preference is. One person's "too close looking too sharply up" is another person's "Wow! This is the best seat I've ever had"."

Walter Plinge says...
"My answer to this would be the same as the many times I've given it below for large theatres - but with a booster cushion."

Walter Plinge says...
"A swing is a dancer who understudies a number (or all) of the dancers in a show, but does not perform him/herself. It is the equivalent of a walking understudy in a play. "

Walter Plinge says...
"I'm not aware of an amateur production - sounds a pretty grisley prospect. Presumably, if sets for the show are available, the 'usual sources' of scenery hire will have them. You can find scenery and prop hire companies in Contacts published by The Spotlight."

Walter Plinge says...
"A look at the plan shows you just how big the auditorium is. The cheaper seats are very high up but usually a clear view."

Walter Plinge says...
"It's fine, because the orchestra pit is quite deep, so the front row is not right on top of the stage. But as I keep saying, all views are subjective."

Walter Plinge says...
"If you scroll down you will find that I have already answered this question - and given lots of other useful tips, facts and information!"

Walter Plinge says...
"Yes!"

Walter Plinge says...
"It was Richard Lawrence."

Walter Plinge says...
"You can find links to costumiers in Suppliers in the Links section of TheatreNet. "

Walter Plinge says...
"First I'd recommend you stay longer - 3 days isn't enough. Then it depends what your interests are, plays or musicals, new writing or classics. I would suggest you see shows you can't see at home. King Lear or A Midsummer Night's Dream at Shakespeare's Globe, The Revenger's Tragedy at the National, Pygmalion at the Old Vic, or Billy Elliot at the Victoria Palace."

Walter Plinge says...
"As I keep saying, the more you pay, the better the view, but in the case of Drury Lane, remember that it has four levels, and having climbed up four floors to the Balcony, people have been known to return to the Box Office ashen faced, and ask to exchange for tickets on a lower level, because the view is almost vertically down. (However, rumours that the view of the stage from there is sometimes obscured by low cloud is believed to be simply a myth.)"

Walter Plinge says...
"I've answered this before. The Intimate Revue at the Duchess Theatre is the shortest run, as it failed to reach the end of its first performance. Everything that could go wrong did so, with long gaps between scenes, and by midnight, with seven more scenes to go, they cut to the finale - the following day the run was cancelled. "

Walter Plinge says...
"There are no performances of Shakespeare plays currently announced during that period as it is too far ahead. It may be that National Theatre's repertoire at that time may include a Shakespeare play, or that the Royal Shakespeare Company may transfer a play or plays from Stratford to the West End. As the wretched call handling voice says "Please try later"."

Walter Plinge says...
"As always, the more you pay, the better the view, but if you are looking for a cheaper option, although it is a big theatre, it is only on two levels, so at the back of the Dress Circle you are not looking too steeply down."

Walter Plinge says...
"Unlikely - but you can never say never when its producer, Bill Kenwright, is involved."

Walter Plinge says...
"It's a big theatre, with 1,643 seats on three levels, and the Grand Circle is the top level, so it's a long way to the stage, but it's a clear view."

Walter Plinge says...
"Sadly the days when audiences dressed up to go to the theatre are long gone - even at First Nights - so you can wear what you like. Just try to avoid provoking the front of house staff enquiring "Crikey, what have you come as?."

Walter Plinge says...
"I presume you mean the recent production at the Menier Chocolate Factory in Southwark. There has been talk of a transfer to the West End, with the Playhouse Theate strongly fancied as a venue, but nothing has been confirmed."

Walter Plinge says...
"Apart from opera houses generally and the London Coliseum, the front row of the dress circle is usually around two thirds of the way back from the front of the stalls - but it varies in each individual theatre. Seating plans sometimes state over which row it begins."

Walter Plinge says...
"Tiger Aspect, Rupert Lord and Andre Ptaszynski in association with Madness"

Walter Plinge says...
"In the stalls, for reasons that become immediately obvious once the opening number begins."

Walter Plinge says...
"It cost 1 penny to be one of the Groundlings, standing in the yard in front of and around the stage - so the current price of £5 to do the same at Shakespeare's Globe seems a bargain."

Walter Plinge says...
"There are really too many imponderables in this question. Firstly, it depends if the event is happening on the stage at the end of the hall, or is in the round. Secondly, it depends - as always - on the kind of view you prefer. If it is on the stage at the end, some people would consider the front of the flat floor best, although it means looking up, while others would prefer an elevated view, which would inevitably be sideways on, or a long way away. Similarly, if it is in the round, you also have a choice of being close and at the same level, or further away but looking down, and then, on the long side or the short side of the arena. They are the options - there is no 'right answer' only personal preference."

Walter Plinge says...
"It is a big theatre, with four levels, but as the building was designed by Frank Matcham, the world's greatest theatre architect, you will have a good view wherever you sit - but unsurprisingly, the more you pay, the better it will be."

Walter Plinge says...
"Group reductions are usually available for Monday to Thursday performances and sometimes for Fridays and Saturdays. The size of groups and prices vary, so check with the Box Office. Some theatres have established a group booking office and send out regular newsletters with information and offers. Some ticket agents specialise in group bookings. You can find a link to one of these if you click on Group Box Office from just above Ask Walter Plinge on the home page of TheatreNet. There is also a listing of group offers in the ShowSaves club."

Walter Plinge says...
"I'm not aware of plans for a tour of The Lion King, and I don't think there is any possibility of the London production ending in June."

Walter Plinge says...
"A number of London theatres now offer backstage tours: Barbican Centre, Duke of York's, Her Majesty's, London Coliseum, London Palladium, Prince Edward, Prince of Wales, National Theatre, New London, Royal Court, Royal Opera House, Sadler’s Wells, Shakespeare's Globe, Theatre Royal Drury Lane, Theatre Royal Haymarket, and also the Royal Albert Hall and The Roundhouse. For the day and time you specify try the London Palladium, National Theatre or Shakespeare's Globe. "

Walter Plinge says...
"It is a big theatre, and the Gallery is the highest of four levels, so you will be looking steeply down, but as the building was designed by Frank Matcham, the world's greatest theatre architect, you will have a good view."

Walter Plinge says...
"If you select a hotel in the W1 or WC2 post (Zip) code areas you will only be a short walk from whatever shows you decide to see. The Official London Theatre Guide has a theatreland map you can download with the location of all the theatres. If you book a theatrebreak package the hotels on offer are usually nearby."

Walter Plinge says...
"Generally I would say the best place to see The Lion King from is the Stalls because of the action in the opening scene, however, with small children it may be better from the Dress Circle, as they will be looking down on the action rather than up."

Walter Plinge says...
"Contacts, the handbook published annually by the actors directory Spotlight, is the major resource for finding details of anything and everything to do with the performing arts, from theatres themselves, and theatre, television and film companies, through all kinds of suppliers. You can be sure that companies included in the listings are reputable. You can buy Contacts from the Spotlight web site, which you can find via the link from Agents & Casting in the Links section of TheatreNet. You will also find links to costume hire companies from Suppliers in the Links section of TheatreNet. If you look in your old theatre programmes you find the companies that crop up most frequently, which will be an indication of their standing in the profession."

Walter Plinge says...
"You probably didn't mean the roles of a Stage Doorkeeper, but I'll tell you anyway. It is probably best summed up by a rumour I started when I was working for the Royal Shakespeare Company. It was a time of rampant 'job title inflation', when people kept the same job, but were re-christened with a more important sounding title and received a bigger pay cheque - so the Production Manager became the Production Controller etc. I suggested the Stage Doorkeeper should become the Access Liason Officer. Sadly it wasn't taken up. The Stage Doorkeeper is the contact point between the backstage area and the outside world, so all incoming personnel, post, phone calls, parcels and visitors fall under my scrutiny. Were there any 'Access All Areas' passes in the theatre, then I would be the person checking them. As it is, everything is at my discretion - I hold the keys to the castle. You've no doubt heard about the actor playing the Gravedigger in Hamlet, who, when asked what the play was about, begins "Well there is this Gravedigger..."."

Walter Plinge says...
"Yes"

Walter Plinge says...
"All seats have a good view in the Ambassadors as it's a small theatre of only 440 seats. The London Theatre Guide by Richard Andrews, published by Metro Publications at £8.99, is a pocket sized book containing plans of all West End theatres (plus a whole lot of other interesting information about London theatre). It would help you to judge if seats you are offered in any theatre are in a good position. You can even get a £1 discount and free delivery by joining ShowSavers." "

Walter Plinge says...
"I'm not quite sure of the context of your question. My initial response is "not in the popular press - other than to denegrate them as elitist and out of touch with contemporary society at every opportunity". But then I would question if the tittle tattle that constitutes the popular press counts as journalism. Even the professional journal The Stage has transmogrified into a 'fanzine'. Obviously the arts sections of the once and remaining broadsheet press are still engaged with the performing arts on a serious level. However, as time goes on, serious criticism is waning. Firstly, the amount of space has diminished, with theatre criticism now getting fewer column inches than restaurant criticism. Secondly, the purpose of reviews seems to have been redefined as 'provide trivial entertainment' rather than 'informed comment'. I'm sure that whatever you meant by your question that doesn't answer it."

Walter Plinge says...
"If you look below I have alrady defined a Swing. The Dance Captain is one of the dancers who deputises for the choreographer on a nightly basis, organising cover with the swings when a dancer is off sick or on holiday."

Walter Plinge says...
"Gavin McAlinden is artistic director of the company Charm Offensive, who has directed a number of shows at the Finborough and other fringe theatres in London."

Walter Plinge says...
"My answer is the same as the various versions below. My only concession to this theatre is that the Dress Circle is quite a way back at the Apollo Victoria because it is a large auditorium, but it is still a good view."

Walter Plinge says...
"The Wardrobe Mistress/Master is the person who is in day to day charge of the costumes. In New York there is a Behind The Emerald Curtain tour that runs on Saturday mornings, which provides an opportunity to see the costumes and props up close, and learn about how they were made and how some of the tricks work. Unfortunately I don't know of any plans to do that here. Still, the current state of the dollar means that it has never been cheaper to go to New York so why not treat yourself? You can find special offers and a downloadable Broadway On A Budget guide on our sibling site www.newyorktheatrenet.com"

Walter Plinge says...
"Most theatres operate a rule that 5 years old is the minimum age for entry to performances. Some children's theatre companies perform shows aimed at 2 year olds upwards to which this obviously does not apply."

Walter Plinge says...
"If you look in Regional Theatres in the Links section of TheatreNet you can find links to the web sites of all the major regional theatres, so you can find out what is on anywhere in the country. "

Walter Plinge says...
"Sounds dangerous! There is nothing off the shelf that I know of. You would need to contact a special effects company to see if they had any experience or ideas about how it could be done. Some sort of piping run through the costume/wig attached to a portable smoke machine would seem possible. Alternatively, a magician who does consultancy may have a suggestion."

Walter Plinge says...
"At that time prices ranged from around 5s (25p) for the Boxes, through 3s 6d (17.5p) for the Pit (Stalls) to 1s (5p) for the Gallery."

Walter Plinge says...
"A big subject. As the lyricist Sammy Cahn used to say when asked "What comes first, the words or the music?" - first comes the contract. Producers have a contract with writers, which gives an option to produce a work, and states what the royalties will be during any run; with the theatre in which the show is to play; and with any subsequent recording, publishing and merchandising companies. Plenty for a lawyer to get their teeth into."

Walter Plinge says...
"The closest announced at present is the King's Theatre in Edinburgh from 12th November."

Walter Plinge says...
"I think you are referring to Walter Plinge. Look at the answers below."

Walter Plinge says...
"I've answered this question in various ways before. I think for the Lion King an aisle seat in the Stalls is probably best, as will become apparent during the first few moments of the show. I had just such a seat when I saw it in New York a couple of weeks after it first opened and it certainly made a big impression on me."

Walter Plinge says...
"Outside my field of experience I'm afraid. Any sugestions?"

Walter Plinge says...
"I'm not aware of a female version of Walter Plinge. If anyone else does, then do let me know."

Walter Plinge says...
"The best way to get into the theatre is by going to a recognised drama school, on an acting or technical course, depending on your talent and interest. This will give you a proper grounding for a career. Then it is a question of working and learning towards your ultimate goal. If you look at Training in the Links section of TheatreNet you will find schools and colleges. The members of the Conference of Drama Schools are the top level. Producers and theatres do use the services of lawers who specialise in theatre - for instance, investment proposals have to be vetted before they are sent out."

Walter Plinge says...
"I only know the basic facts of the 'legend', as detailed below. I imagine that because it was so chaotic and went so badly they anticpated bad reviews and decided that it would be a flop, so that any rescue mission would be throwing good money after bad. It doesn't happen very often here, but it's common for shows to fold in their first week on Broadway if the reviews are bad. Last December I saw the musical High Fidelity on Tuesday, it opened on Wednesday and closed on Sunday. You may be able to find out further information on The Intimate Revue from the Theatre Museum archive - wherever that is now (probably in the back of a taxi going from Covent Garden to South Kensington), the Raymond Mander and Joe Mitchenson Theatre Collection, or from the British Library. You can find their web sites from Information in the Links section of TheatreNet."

Walter Plinge says...
"If you look below I've answered this question in a number of ways previously. Most classical operas are staged on a grand scale, so it's probably better to be in the Dress Circle - not to mention that you will probably need to read the surtitles in order to find out what's going on, which is easier further away from the stage. "

Walter Plinge says...
"If you look below I have already answered this both in general, and with regard to the Aldwych. But be aware that Dirty Dancing has the most raucous audience I've ever experienced - predominantly female, and what I imagine a typical hen night audience for a male stripper is like. So as a matter of self preservation, you might choose an aisle seat - useful for a quick getaway if things really get out of hand."

Walter Plinge says...
"The first pantomime was staged by John Rich at the Lincoln's Inn Theatre in 1716, when he played Harlequin in an adaptation of an Italian comic ballet. He continued to present it each Christmas until 1760. The word pantomime was first used to describe a performance at Drury Lane in 1717."

Walter Plinge says...
"Well, a lot of dry cleaning and sewing for a start. The basic principles of any hire company - be it lighting, sound, costume or props - are the same. First, you have to invest in the stock. You need to have sufficient to make it worthwhile people dealing with you. They don't want to have to go to umpteen different companies to fulfil their needs. Second, you need to maintain and service it between hires to keep it in good condition. On the one hand people tend not to look after things they don't own very well, but on the other, they expect what they hire to be tip top. Thirdly, you need to keep maintenance and depreciation in mind when you are setting your prices. Fourthly, you need to know about the competition - what they offer and what they charge. And finally, as with all businesses, while always going the extra mile to help your customers, don't promise what you can't deliver."

Walter Plinge says...
"If you look below I have already answered this question in general terms. As far as Drury Lane is concerned, be aware that it is one of London's biggest theatres and has four levels. The Balcony, which is the top level, is very high. It is a long climb up there, and some people who suffer from vertigo find the view down on to the stage too much to take. N.B. This is not a joke. When I worked in the box office there, people would sometimes return ashen faced and ask to move to a different level."

Walter Plinge says...
"I haven't actually sat in those seats for this particular show, but they should be fine. The London Theatre Guide by Richard Andrews, published by Metro Publications at £8.99, is a pocket sized book containing plans of all West End theatres (plus a whole lot of other interesting information about London theatre). It would help you to judge if seats you are offered in any theatre are in a good position. You can even get a £1 discount and free delivery by joining ShowSavers. "

Walter Plinge says...
"The Lord Of The Rings felt like the longest show I have ever seen - but I guess you mean the longest and shortest runs. The longest running play is Agatha Christie's The Mousetrap, which opened on 25th November 1952 and is still going (although I wouldn't say it's going strong). The longest running musical is Les Miserables, which opened in the West End on 4th December 1985 (having played for six weeks at the Barbican) and is also still revolving. The Intimate Revue at the Duchess Theatre is the shortest run, as it failed to reach the end of its first performance. Everything that could go wrong did so, with long gaps between scenes, and by midnight, with seven more scenes to go, they cut to the finale - the following day the run was cancelled."

Walter Plinge says...
"It's tricky - there are plenty of British Stage Managers looking for work already! You would obviously need to check out the work permit situation. I don't know if you are a member of the American Stage Management Association, but they have links with the British Stage Management Association (www.stagemanagementassociation.co.uk). There are some jobs advertised in The Stage (www.thestage.co.uk) - but of course the best ones never get advertised. You can find contact details of both theatres and producers in the book Contacts published by The Spotlight casting directory (www.spotlightcd.com). If you have worked on Wicked I know that the London production is looking for a book cover at this moment."

Walter Plinge says...
"Females did not appear on the British stage until the theatres reopened after the restoration of Charles II in 1660. The first recorded performance by a professional actress was Margaret Hughes as Desdemona in The Moor Of Venice on 3rd December 1660."

Walter Plinge says...
"It's hard to believe that an idea so bereft of imagination is causing such interest. Dates currently announced are: W/C 30 April - Regent Stoke on Trent, W/C 28 May - Lighthouse Poole, W/C 4 June - His Majesty's Aberdeen, W/C 11 June - New Wimbledon, and W/C 18 June - Theatre Royal Newcastle."

Walter Plinge says...
"The show crew in each theatre is hired by the Master Carpenter for the stage, Chief Electrician for electrics, or Wardrobe Mistress/Master for dressers. Ask for one of them at the Stage Door (usually at the rear of the building) during the morning - full time staff usually work mornings and evenings. They will expect you to have had some amateur experience, and to be available for all eight shows each week. A good time to try is when a new show is about to start rehearsals prior to opening, when they may be loooking for extra staff. Naturally musicals have a bigger crews than plays."

Walter Plinge says...
"If you look below I have already answered this question."

Walter Plinge says...
"It's at the Regent Theatre, Stoke-on-Trent, from 30th April to 5th May, but then appears to be lying down in a darkened room and bathing its temples with eau de cologne until 4th June, when it opens at His Majesty's Theatre, Aberdeen."

Walter Plinge says...
"When asked this question the words 'how long is a piece of string?' come to mind. Are you looking for classical or contemporary, comedy or drama, conventional or experimental? And then there is the matter of personal taste. I guess we could agree that the fact that The Mousetrap has been running for 55 years doesn't make it the first choice. So, perhaps a Top 8 (as there are 8 performances in a theatrical week) across genres and tastes in alphabetical order: Boeing-Boeing (Comedy), Equus (Giegud), The Glass Menagerie (Apollo), The History Boys (Wyndham's), The Man Of Mode (Natioinal), A Midsummer Night's Dream (The Roundhouse), The 39 Steps (Criterion), and The Woman In Black (Fortune)."

Walter Plinge says...
"Hot Flush is opening at the Churchill Theatre Bromley, and then touring to the King's Theatre, Edinburgh, the Theatre Royal, Nottingham, the Regent Theatre, Stoke-on-Trent and the New Wimbledon Theatre."

Walter Plinge says...
"Once again I refer you to my previous answer below. But you'll be lucky to get a seat anywhere for Dirty Dancing!"

Walter Plinge says...
"If you look below you will see that I have already answered this question. As far as sitting in the front row is concerned you should ask if there is an orchestra pit or not. If there is a pit, then the front row will be maybe 10 feet from the front of the stage, if there isn't, it will be just inches from the front of the stage."

Walter Plinge says...
"Most people become directors either by gaining experience while at university (usually while on English and/or Drama courses), joining one of the few post graduate directing courses at a university or drama school, or following a career as an actor. If you can get any sort of experience with an amateur company it might help. The first step is to become an assistant director either at one of the few regional producing theatres that can still afford to hire them, or as a resident director on a long running West End show. As with most positions in the theatre, getting a first job is very, very difficult."

Walter Plinge says...
"I'm afraid that despite exhaustive searches I can't find any productions currently or planned. Perhaps someone else knows different."

Walter Plinge says...
"I don't have any definite news, but after the prospective production at the Apollo Theatre this month, and subsequent touring dates were cancelled, it would seem not in the immediate future. "

Walter Plinge says...
"I think you and the producer were in a minority of two with that opinion. Consequently, no American co-producer or theatre owner would touch it with an 18th century sailing ship pole. (And by the way it was Frank Finlay not Albert Finney - I can't decide who sings worst out of the two of them, but both are pretty grisly experiences)."

Walter Plinge says...
"He was allegedly a London publican, whose name was used in recognition of his 'services to the profession', but there's no real authentication for this claim that I am aware of. "

Walter Plinge says...
"The Royal Shakespeare Company staged the plays with both the longest and shortest titles in the same season at the Aldwych Theatre in 1964. 'The Persecution And Assassination Of Marat As Performed By The Inmates Of The Asylum Of Charenton Under The Direction Of The Marquis De Sade' by Peter Weiss is known for short as 'The Marat/Sade'. Even so, it is still not as short as 'Eh?' by Henry Livings. The RSC also staged a documentary theatre piece called 'US' in 1966."

Walter Plinge says...
"The musical theatre enthusiast’s answer would be ‘at a great distance’ or ‘in another theatre’. However, addressing you question seriously, I have only seen the original production, where the racetrack went out into the stalls. I believe that the touring production restricts the skaters to the stage, so I think that normal rules would apply, as in my previous answer below."

Walter Plinge says...
"Good question. I'm not aware of an exact Walter Plinge equivalent in America. John Doe is the generally accepted civilian designation for a person whose identity is unknown, but perhaps John Booth might be appropriate - as in the often used theatre phrase "Apart from that Mrs Lincoln, how did you enjoy the show?
P.S. Dogged determination and exhaustive research (for which I am famous) has now revealed that there is an exact American counterpart, and that the name is George Spelvin. As yet I have not been able to find either a real George Spelvin, or an authenticted origin of the use of the name. I believe that Harry Selby is an alternative."

Walter Plinge says...
"£13 to £35 - but it would have been quicker to call the theatre than ask me!"

Walter Plinge says...
"This is such a big subject you could write a book about it - in fact it is covered in Making A Musical by Richard Andrews, published by Robert Hale (see the special offer on ShowSavers). I'll describe the process in the West End. The producer finds the property - either a script that has been submitted to her/him, by commissioning a writer, or by seeing a show at a fringe, regional or subsidised theatre. (S)he then raises the money from investors, puts together a creative team (director, designers etc), chooses a cast, finds and contracts a theatre, organises the building of the physical production (set, costumes etc) and marketing. (S)he will then manage the show during its run and supervise any subsequent touring or foreign productions. As to serving the arts, while some shows are just cheapjack attempts to separate the great British public from their hard earned cash by whatever means necessary, there have been many cases where producers were enthused by a particular project, and against all sensible advice, put shows on when no-one else would, which went on to become recognised as major works. To be truly healthy the theatre needs a mixed economy embracing both the commercial and the subsidised."

Walter Plinge says...
"The Mousetrap Foundation runs an extensive programme of masterclasses, workshops and events, together with subsidised tickets for West End shows, for school pupils and teachers. You can find the details on The Mousetrap Foundation web site via the link from Organisations in the Links area of TheatreNet."

Walter Plinge says...
"It is the story of a Broadway producer who sets out to make money by defrauding his investors. He decides to stage the worst musical he can find - Springtime For Hitler - certain that it will be a flop, and then raises much more money that he has to spend to put it on, intending to keep the difference. The show opens, it is terrible, but his plan is foiled when it becomes a hit, and he can't pay his backers. Of course the traditional answer in musical theatre to "What is the show about?" is: "It's about two and three quarter hours - but we're working on the second act"."

Walter Plinge says...
"There is no straightforward answer to this. Some people think that simply because it was always a guaranteed crowd puller, and so was often substituted for a play that had flopped and was taken off, that it somehow caused the misfortune. However, it is certainly true that there have been many productions of 'the Scottish play' as it is always known, that have been fraught with disaster. A production starring John Gielgud at the Piccadilly Theatre during the Second World War definitely lived up to its unlucky reputation, with four actors dying and the designer committing suicide - shortly afterwards the building suffered bomb damage and closed. So best not say the word to be on the safe side."

Walter Plinge says...
"A Swing is an understudy boy or girl dancer, who doesn't normally appear in the show, but learns the different positions of each of the dancers, and can substitute for anyone who is off sick or on holiday. If there is a big chorus there will be more than one Swing and they will split the covering between them. In plays, understudies who do not normally appear in the show are called Walking Understudies."

Walter Plinge says...
"The total attendance in West End theatres has been around 12 million for the last few years. In 2005 the number rose to an all time record of 12,318,625. Attendances at Broadway theatres is slightly lower, and their figures are accounted in seasons rather than calendar years. The 2005/2006 season was also a record breaker at 12,003,148, the first time the figure had topped 12 million."

Walter Plinge says...
"Walter Plinge is actually a well known theatre pseudonym used for disguise purposes in billing and programmes. For instance, if the producer doesn't want the audience to know that one actor is playing two parts, or wants to give the impression that there are more actors in the play than there really are. I'm using it to protect myself from the attentions of magazines such as Heat, OK and Hello."

Walter Plinge says...
"If you like to be close to the stage and feel part of the action, then the front Stalls is the place to sit, although you will be looking up. If you like to have a wider overall view, then the Dress Circle, further back and in a slightly elevated position, looking down on the actors (as most people do in real life) is the place for you. Remember that Boxes are for being seen in - they are at best a sideways on view, at worst they are restricted. "

Walter Plinge says...
"The first public theatre in London was The Theatre, constructed outside the city wall to the north in Shoreditch in 1576, and managed by the actor James Burbage. It was of the kind we are now familiar with from the film Shakespeare In Love, with half the audience standing in the open air yard below the stage, and the rest seated in three shallow galleries surrounding them. The Theatre was so successful that Burbage built another, The Curtain, nearby the following year. When Burbage died in 1597, his sons were unable to renew the lease on the land where The Theatre stood, so they dismantled it, transported it across the river, and re-erected it in Bankside, where two other theatres had subsequently opened, rechristening it The Globe. "