Prince Edward Theater London

Prince Edward was built in 1930, at the height of the golden years of cinema. Its name was Prince of Wales at that time. The architect of its construction was none other than Edward A. Stone, one of the co-designers of Piccadilly Theater two years earlier. While the Italian exterior seemed pretty harsh to some, the theater's décor was plush and lavishly decorated in soft tones of fuchsia and gold. The auditorium had patrons in 1650 and contained fully upholstered seats, which were quite furious at the time. With the third largest stage in all of London, the theater was designed for over-the-top musicals, drama, revues and even film. The proscenium arch for which it was noted was truly a masterpiece, with niches and fountains by Rene Lalique.

Performances on Prince Edward began in a rather unfortunate way. The original offering, which opened April 3, 1930, was the musical comedy Rio Rita, with Edith Day and Geoffrey Gwyther. The series had been a resounding hit at New York's Ziegfeld Theater, but received pretty cool in London. After only 59 performances, the show was canceled. The next offering at the theater began in October 1930 and was somewhat successful. The musical Nippy participated in Binnie Hale, a major box office attraction at the time. The huge stage allowed for an extensive recreation of an Austin salon. After Nippy, a series of short runs included the glamorous Fanfare with Bernard Clifton, which closed after only three weeks.

After a few years of less than successful cabaret and commercial films, London's theater world was surprised when Aladdin quit in January 1935 without enough funds to pay the actors. When buying the property from a syndicate, Prince Edward was about to undergo huge changes. After the closing of large kitchens under the stage, a rotating dance floor and stairs connecting the different levels of the auditorium, the theater reopened as London Casino on April 2, 1936. Billed as a cabaret restaurant, its first offering was Folies Parisiennes, a most popular revue at that time. The casino was soon the place to go in London and developed a reputation for smooth, even risqué, entertainment. For the first time, the theater began to show significant gains.

Unfortunately, Blitz ended such joy in 1940. The theater was in operation for two years, when it reopened as Queensbury All Services Club. The club sent over 2,500 war broadcasts to troops participating in WWII battles. News for these broadcasts included such remarks as Jack Warner, Max Wall, child censor Petula Clark, Glenn Miller and Bing Crosby. After the end of the war, the theater reopened as London Casino. It mainly offers various shows, it contained such greats as the ink stains, Julie Andrews, Arthur Askey and Richard Murdoch. Ballet enjoyed a fall season in 1948. Since 1954, the theater originally joined to talk cinemas in full circle with the introduction of Cinerama to the arena.

How the West won was a run of over two years, followed by 2001: A Space Odyssey, which ran for more than a year. In the ensuing years, the theater saw checkered use, including pantomime Cinderella starring Twiggy. Finally, in 1978, the theater returned to its former glory and its reason for existence. It was renamed Prince Edward to coincide with its new offering, the music Evita, which ran for the next eight years. Elaine Paige became a theatrical experience with the music. She later played in Chess and then Anything Goes and enjoyed quite a long drive at Prince Edward.

After a complete renovation, the theater reopened in March 1993 with the hit musical from Broadway, Crazy for You. Other notable offers since then have included Martin Guerre, Mamma Mia !, Mary Poppins, and the current Jersey Boys offer, the story of Frankie Valli and the Four Seasons, which opened in March 2008 to rave reviews.

The Prince Edward Theater is conveniently located in the heart of London's entertainment district. Nearby are attractions such as Soho, Chinatown, Piccadilly Circus and Trocadero. By the way, you may be interested in knowing the origin of the name of the Mozart Bar located in the entrance foyer of Prince Edward. It seems that a young Wolfgang Amadeus Mozart and his father lived on the theater's current stage door during the years 1764-1765. History really lives on Prince Edward.

It's perfectly fine and exciting when you have a professional actor in your set, but what happens if you have amateurs or extras that you need to fill in your stage? Supporting actors / talents and even extras give you an authentic feel in your set. Office worker in the background working on her laptop, the young lady talking on her mobile (in the background) on the street. They are all important but they often have no gaming experience. So how do you give them a crash course in acting?

During a movie production, our producer will always spend about 30 minutes with all the talents and show them how to perform during filming. They know what to expect when I call & # 39; Action & # 39; or & # 39; Cut & # 39 ;. If we take the time to inform them, even the most inexperienced person can show some good results on film.

Here are some basic but practical rules when managing your actors / talents:

1) Don't start until I say & # 39; Action & # 39;

Many talents tend to come before themselves, especially when they are nervous and will start their signal before the camera has time to roll. We always ask them to wait until the film director says & # 39; Action! & # 39;

2) Never stop until I say & # 39; Clip & # 39;

I have experienced this often - talents who think they are ready with what they & # 39; re thought for a while, stop and look for instructions. We ask them to continue doing what comes naturally until the film director says & # 39; Cut! & # 39; I think it's important that we explain that the film director may think he wants to film more of the scene. Maybe he thinks that the lead actor is doing a good job or maybe he wants to extend the shot for creative reasons. Whatever it is, the talent must continue to act until they hear & # 39; Cut! & # 39;

3) Don't ever look at the camera!

I think probably the most important of the four rules. We want a movie to look as natural as possible. Talents must never look at the camera or the film director. Some talents will pause halfway through their act and look at the camera as for approval. Don & # 39; T!

4) This last rule is for new movie producers.

You give the familiar signal: & # 39; Light! Camera! Effect! & # 39; Remember to wait for it. Have the lighting crew call back after & # 39; Lights On! & # 39; Camera companies should scream back & # 39; Rolling & # 39; The director calls & # 39; Standby! & # 39; The keyboard person (if available) will exclaim the scene e.g. & # 39; Stalkers, scene 25, take 1! & # 39; and hit the keyboard. Now it's your turn to scream everything so iconically & # 39; Action! & # 39;

So there you have it, some basic principles for directing actors and talents. Remember to be safe and well informed. Actors (and people in general) tend to perform better when their leaders know their stuff. Taking the time to memorize your scenes and being familiar with your studio equipment is a definite advantage.

Give compliments when they are overdue, work well with the rest of your team, show them respect and you may well be on your way to becoming a accomplished film director. Sincerely!