211 posts
|
Post by sprampster on Jan 21, 2020 22:15:15 GMT
Fell in love with Moby Dick at the Piccadilly and saw it many times including last night x it was just brilliant and wore its heart on its sleeve as well as being camp as Christmas !!
Would love to see a reunion concert back at the Piccadilly with the original cast !! Also had the pleasure of sharing the stage with the much missed EMMA “can little girls get pregnant !” PRIEST a few years later
Ended up directing a production a while back that just made me beam !!
Long live Dick !!
|
|
|
Post by Deleted on Jan 21, 2020 22:53:14 GMT
Would love to see a reunion concert back at the Piccadilly with the original cast !! I was thinking the exact same thing today!! Now that i have the score on spotify, i have listened to it for the past 2 days and it just makes me smile. It brings back so many great memories of the show. I can still see the seals pop out and sing along to Forbidden Seas (it was that number, right??) Like you said, it's camp as christmas. It was so much fun, which definitely comes across on the recording. i think i also saw it three times on student standby tickets, which were very cheap. I even still have my Moby Dick 3D glasses. I like that the large majority of the songs are performed straight, whilst all the staging provided the comedy. On. With. Culture!
|
|
|
Post by intoanewlife on Jan 21, 2020 23:12:10 GMT
I loved the original Arts production of Closer to Heaven. Sure the book wasn't great, but it was still fun and had plenty of laughs. The music, staging and choreography were fabulous and Francis Barber was amazing as were most of the cast. It had all the elements and with a decent director and a few structural changes it could easily be turned into much better show.
Plus it gave me the glorious life long memory of Louis Spence jumping off the stage and grinding on my 50 year old brother-in-law's lap in the front row.
As for it flopping, I don't remember it that way at all, it was always a workshop production. It extended once after Barber left, which was when it was scheduled to finish and only closed because the West End died after 9/11 and audiences dropped off after Barber left.
I thought it was much better than the borefest that was Taboo.
Pity the Union revival was so utterly horrible.
|
|
211 posts
|
Post by sprampster on Jan 21, 2020 23:14:01 GMT
Would love to see a reunion concert back at the Piccadilly with the original cast !! I was thinking the exact same thing today!! Now that i have the score on spotify, i have listened to it for the past 2 days and it just makes me smile. It brings back so many great memories of the show. I can still see the seals pop out and sing along to Forbidden Seas (it was that number, right??) Like you said, it's camp as christmas. It was so much fun, which definitely comes across on the recording. i think i also saw it three times on student standby tickets, which were very cheap. I even still have my Moby Dick 3D glasses. I like that the large majority of the songs are performed straight, whilst all the staging provided the comedy. On. With. Culture! And here is act one x
|
|
|
Post by Deleted on Jan 21, 2020 23:38:27 GMT
I loved the original Arts production of Closer to Heaven. Sure the book wasn't great, but it was still fun and had plenty of laughs. The music, staging and choreography were fabulous and Francis Barber was amazing as were most of the cast. It had all the elements and with a decent director and a few structural changes it could easily be turned into much better show. Plus it gave me the glorious life long memory of Louis Spence jumping off the stage and grinding on my 50 year old brother-in-law's lap in the front row. As for it flopping, I don't remember it that way at all, it was always a workshop production. It extended once after Barber left, which was when it was scheduled to finish and only closed because the West End died after 9/11 and audiences dropped off after Barber left. I thought it was much better than the borefest that was Taboo. Pity the Union revival was so utterly horrible. Did you not see the production at the Above The Stag, last year? It was great. Yes it has some book issues, but i agree that there is a better show in there. I love the score so much.
Actually there arn't many 90's flops that I don't love!
|
|
|
Post by intoanewlife on Jan 21, 2020 23:52:21 GMT
I loved the original Arts production of Closer to Heaven. Sure the book wasn't great, but it was still fun and had plenty of laughs. The music, staging and choreography were fabulous and Francis Barber was amazing as were most of the cast. It had all the elements and with a decent director and a few structural changes it could easily be turned into much better show. Plus it gave me the glorious life long memory of Louis Spence jumping off the stage and grinding on my 50 year old brother-in-law's lap in the front row. As for it flopping, I don't remember it that way at all, it was always a workshop production. It extended once after Barber left, which was when it was scheduled to finish and only closed because the West End died after 9/11 and audiences dropped off after Barber left. I thought it was much better than the borefest that was Taboo. Pity the Union revival was so utterly horrible. Did you not see the production at the Above The Stag, last year? It was great. Yes it has some book issues, but i agree that there is a better show in there. I love the score so much.
Actually there arn't many 90's flops that I don't love!
No I missed it unfortunately. I had been to a show there not long before and it felt like the venue was going to be demolished by a tube train at any second which made the whole thing a little uncomfortable for me and that's without mentioning the horrible seats. Plus I still had the Union production buzzing in my brain *shudders The score is great! I even managed to find the original 15 minute version of My Night a few years ago which excited me no end. The book is completely fine, it just needs reframing so it is definitely Pauls story and not Billie's which is how is appears at the start. It should be framed as a flashback which he narrates. Plus it really needs a more definitive timeline of events, as it all seems to take place over about 4 days, which makes the whole love story aspect not work at all. He meets this guy who dies 2 days later and is meant to have fallen in love with him and be devastated...Really? The rest of it is fine I think. The boyband stuff is a little out of date now, but the gay stuff is still pretty accurate and very funny. In the end it is what it is.
|
|
|
Post by Deleted on Jan 22, 2020 0:31:03 GMT
Like Positive Role Model, there is also an Almighty Remix of My Night, but i have never been able to find it. That's my holy grail.
|
|
225 posts
|
Post by ukpuppetboy on Jan 22, 2020 1:06:27 GMT
|
|
225 posts
|
Post by ukpuppetboy on Jan 22, 2020 1:22:42 GMT
I don’t know if it reached the West End but can anyone remember a musical version of Robin Hood? Bill Kenwright was involved and the cast were some of his version of Joseph. If it’s the one at the Piccadilly theatre in the era of Moby Dick then I saw this a few times. I remember it being a pretty cheap ticket and a lot of fun Randomly found this clip from a Blue Peter promo they did for the show. Would be a great show for schools. Robin of Sherwood on Blue Peterv637g.app.goo.gl/SMoxbbiQryGjt4bL8
|
|
|
Post by oxfordsimon on Jan 22, 2020 7:50:13 GMT
Who else saw one of the all time classic flops... Which Witch?
That was special in all the worst ways
|
|
306 posts
|
Post by MrBraithwaite on Jan 22, 2020 8:49:02 GMT
Who else saw one of the all time classic flops... Which Witch? That was special in all the worst ways Never saw it live, but still love the recording and the video. If there was a time-machine...
|
|
|
Post by oxfordsimon on Jan 22, 2020 8:57:53 GMT
Who else saw one of the all time classic flops... Which Witch? That was special in all the worst ways Never saw it live, but still love the recording and the video. If there was a time-machine... I went to see it. But sadly can remember almost nothing about it other than it being over the top and crazy. There are still occasional revivals in Europe I believe
|
|
|
Post by Deleted on Jan 23, 2020 10:38:41 GMT
I loved the original Arts production of Closer to Heaven. Sure the book wasn't great, but it was still fun and had plenty of laughs. The music, staging and choreography were fabulous and Francis Barber was amazing as were most of the cast. It had all the elements and with a decent director and a few structural changes it could easily be turned into much better show. Plus it gave me the glorious life long memory of Louis Spence jumping off the stage and grinding on my 50 year old brother-in-law's lap in the front row. As for it flopping, I don't remember it that way at all, it was always a workshop production. It extended once after Barber left, which was when it was scheduled to finish and only closed because the West End died after 9/11 and audiences dropped off after Barber left. I thought it was much better than the borefest that was Taboo. Pity the Union revival was so utterly horrible. Did you not see the production at the Above The Stag, last year? It was great. Yes it has some book issues, but i agree that there is a better show in there. I love the score so much.
Actually there arn't many 90's flops that I don't love!
LOL - I am the same - there aren't many 90s flops that I don't love either! Many, like Moby Dick just had this mad sense of fun that didn't need to explain itself. Was all a bit bonkers, you know, just because why not. Closer To Heaven another fave. Above The Stag version was good fun too. Though Dear God the seating was beyond uncomfortable. I do think these days everything is very earnest or has to be making some kind of social point. I suggest we just bring back the insanity!
|
|
|
Post by Deleted on Jan 23, 2020 10:44:23 GMT
Did you not see the production at the Above The Stag, last year? It was great. Yes it has some book issues, but i agree that there is a better show in there. I love the score so much.
Actually there arn't many 90's flops that I don't love!
No I missed it unfortunately. I had been to a show there not long before and it felt like the venue was going to be demolished by a tube train at any second which made the whole thing a little uncomfortable for me and that's without mentioning the horrible seats. Plus I still had the Union production buzzing in my brain *shudders The score is great! I even managed to find the original 15 minute version of My Night a few years ago which excited me no end. The book is completely fine, it just needs reframing so it is definitely Pauls story and not Billie's which is how is appears at the start. It should be framed as a flashback which he narrates. Plus it really needs a more definitive timeline of events, as it all seems to take place over about 4 days, which makes the whole love story aspect not work at all. He meets this guy who dies 2 days later and is meant to have fallen in love with him and be devastated...Really? The rest of it is fine I think. The boyband stuff is a little out of date now, but the gay stuff is still pretty accurate and very funny. In the end it is what it is. Where did you find the 15 minute version of My Night? I agree - wouldn't surprise me if there was some conflict re who's story it was. The Pet Shop Boys only ever talk about Billie Trix whereas Harvey who has kept more of a dignified silence probably wanted it to be Straight Dave's (I think this is who you mean when you said Paul?!) Anyway, the PSB have constantly banged on about how doing Closer To Heaven was not a pleasant experience for them. Which annoys me no end as I have all the PSB albums, and CTH is probs my fave of the lot. Frustrates me when writers create a work of brilliance and don't seem to like it themselves!
|
|
749 posts
|
Post by horton on Jan 24, 2020 12:31:18 GMT
The recurring problem at the root of these stories comes down to bad producing: METROPOLIS- egomaniac at the helm; GHOST- terrible lack of control of costs; MOBY- wrong producer, with Cameron just not knowing how to make it the next Rocky Horror as it could have been; CLOSER TO HEAVEN- heavy-handed interference in the artistic process (plus a dollop of bad luck leading to scheduling conflicts for some key creatives).
However I would take any one of those over the current trend- not sure whether we are in an Anti-Golden Age or whether this is Austerity Theatre, but I can't bear the cut-down, striped-back, underpowered productions of shows that demand spectacle. And musicals are a heightened form- they need spectacle.
I can't agree that "it's the best we're likely to get/ it's the only way we can produce these show"- especially when the end product misrepresents what the show was meant to be: Menier and Hope Mill are lead offenders in this respect: no I don't want a chamber-piece La Cage because I remember the sumptuous, glorious original. I'm not grateful for a Mame with 3 in the band- no wonder Herman was unhappy! An actor-muso Chess? F-off!
I know not every new show is under-produced, but I worry that there is a generation of young performers and audiences who will see anaemic productions of classic shows and think that is the way they are meant to be.
So Bravo to Which Witch, Metropolis, Hunting of the Snark, Children of Eden, Ziegfeld et al for being BIG glorious disasters!
|
|
2,529 posts
|
Post by n1david on Jan 24, 2020 12:43:27 GMT
Where did you find the 15 minute version of My Night? I have what is called the "Full-length version" which is 8m58 - the Boys put this out on their website at the time that the cast album was released. They'd apparently had a falling-out with the record company who said that the full-length version was "too stagey" to open the album with (which kinda misses the point) so an edited version got put on the album. Still don't understand why they couldn't have stuck it on the end of the CD though.
|
|
|
Post by intoanewlife on Jan 25, 2020 0:52:57 GMT
Where did you find the 15 minute version of My Night? I have what is called the "Full-length version" which is 8m58 - the Boys put this out on their website at the time that the cast album was released. They'd apparently had a falling-out with the record company who said that the full-length version was "too stagey" to open the album with (which kinda misses the point) so an edited version got put on the album. Still don't understand why they couldn't have stuck it on the end of the CD though. Yes that is it lol I dunno wtf I thought it was 15 mins as it was obviously never that long in the show. I thought it was edited because you can only fit 75 mins of music on a cd?
|
|
|
Post by intoanewlife on Jan 25, 2020 0:56:44 GMT
No I missed it unfortunately. I had been to a show there not long before and it felt like the venue was going to be demolished by a tube train at any second which made the whole thing a little uncomfortable for me and that's without mentioning the horrible seats. Plus I still had the Union production buzzing in my brain *shudders The score is great! I even managed to find the original 15 minute version of My Night a few years ago which excited me no end. The book is completely fine, it just needs reframing so it is definitely Pauls story and not Billie's which is how is appears at the start. It should be framed as a flashback which he narrates. Plus it really needs a more definitive timeline of events, as it all seems to take place over about 4 days, which makes the whole love story aspect not work at all. He meets this guy who dies 2 days later and is meant to have fallen in love with him and be devastated...Really? The rest of it is fine I think. The boyband stuff is a little out of date now, but the gay stuff is still pretty accurate and very funny. In the end it is what it is. Where did you find the 15 minute version of My Night? I agree - wouldn't surprise me if there was some conflict re who's story it was. The Pet Shop Boys only ever talk about Billie Trix whereas Harvey who has kept more of a dignified silence probably wanted it to be Straight Dave's (I think this is who you mean when you said Paul?!) Anyway, the PSB have constantly banged on about how doing Closer To Heaven was not a pleasant experience for them. Which annoys me no end as I have all the PSB albums, and CTH is probs my fave of the lot. Frustrates me when writers create a work of brilliance and don't seem to like it themselves! Yes I meant Dave, the actor who played him in the original was Paul something. I always thought Harvey slagged it off much more than they did, he never seemed to not have a nice word to say about it.
|
|
|
Post by Deleted on Jan 25, 2020 7:41:45 GMT
Where did you find the 15 minute version of My Night? I agree - wouldn't surprise me if there was some conflict re who's story it was. The Pet Shop Boys only ever talk about Billie Trix whereas Harvey who has kept more of a dignified silence probably wanted it to be Straight Dave's (I think this is who you mean when you said Paul?!) Anyway, the PSB have constantly banged on about how doing Closer To Heaven was not a pleasant experience for them. Which annoys me no end as I have all the PSB albums, and CTH is probs my fave of the lot. Frustrates me when writers create a work of brilliance and don't seem to like it themselves! Yes I meant Dave, the actor who played him in the original was Paul something. I always thought Harvey slagged it off much more than they did, he never seemed to not have a nice word to say about it. Ahh ok am sure you are right. Was before social media and I was a big PSB fan so I was probs more aware of what they were saying than Harvey. And certainly they had nothing good to say about it. So basically nobody enjoyed working on it! RUG also got a lot of blame. Though without them would never have been in the West End. Anyway, amazing given how unhappy the creatives were that they produced something so great! Ahh yes of course, Paul Keating.
|
|
1,187 posts
|
Post by theatrelover123 on Jan 25, 2020 8:31:10 GMT
I always thought Harvey slagged it off much more than they did, he never seemed to not have a nice word to say about it. So he always had a good word to say about it?
|
|
|
Post by intoanewlife on Jan 25, 2020 8:38:14 GMT
I always thought Harvey slagged it off much more than they did, he never seemed to not have a nice word to say about it. So he always had a good word to say about it? LOL I tried to write it 2 different ways and forgot to delete the wrong one
|
|
|
Post by intoanewlife on Jan 25, 2020 12:53:01 GMT
Just found this on youtube!
|
|
|
Post by westendboy on Jan 25, 2020 14:42:49 GMT
Am I the only one who kind of misses hearing news about the latest West End flop? What I mean is that lately there haven't really been a major flop in recent memory, not since the mid-2010s at least. The last 'big West End flop' was 'I Can't Sing: The X Factor Musical'. I guess that's a good thing, as producers and the like are probably more cautious when making a new musical. But still, it's fun to gossip about how bad a new show has done.
|
|
|
Post by Deleted on Jan 30, 2020 11:19:01 GMT
Am I the only one who kind of misses hearing news about the latest West End flop? What I mean is that lately there haven't really been a major flop in recent memory, not since the mid-2010s at least. The last 'big West End flop' was 'I Can't Sing: The X Factor Musical'. I guess that's a good thing, as producers and the like are probably more cautious when making a new musical. But still, it's fun to gossip about how bad a new show has done. I also miss it. As so many flops were actually amazing. I Can't Sing was another gem! I think what it shows is that producers don't take risks with new British musicals going straight in to the West End. It's just been a steady stream of bland (but box office proven) American stuff for ages now.... #Yawn
|
|
|
Post by Deleted on Jan 30, 2020 11:26:55 GMT
The recurring problem at the root of these stories comes down to bad producing: METROPOLIS- egomaniac at the helm; GHOST- terrible lack of control of costs; MOBY- wrong producer, with Cameron just not knowing how to make it the next Rocky Horror as it could have been; CLOSER TO HEAVEN- heavy-handed interference in the artistic process (plus a dollop of bad luck leading to scheduling conflicts for some key creatives). However I would take any one of those over the current trend- not sure whether we are in an Anti-Golden Age or whether this is Austerity Theatre, but I can't bear the cut-down, striped-back, underpowered productions of shows that demand spectacle. And musicals are a heightened form- they need spectacle.I can't agree that "it's the best we're likely to get/ it's the only way we can produce these show"- especially when the end product misrepresents what the show was meant to be: Menier and Hope Mill are lead offenders in this respect: no I don't want a chamber-piece La Cage because I remember the sumptuous, glorious original. I'm not grateful for a Mame with 3 in the band- no wonder Herman was unhappy! An actor-muso Chess? F-off! I know not every new show is under-produced, but I worry that there is a generation of young performers and audiences who will see anaemic productions of classic shows and think that is the way they are meant to be. So Bravo to Which Witch, Metropolis, Hunting of the Snark, Children of Eden, Ziegfeld et al for being BIG glorious disasters!I couldn't agree more. I LOVE spectacle. And they can harp on about the current cut-back era being artistic choices as much as they like - we all know it's all to do with money. I even think it affects the writing process. When Waitress/DEH/Come From Away were being commissioned/written they'd have known how cheap they'd be to produce on stage. You're 100% right - it's a real shame that an entire generation think the current crop is as ambitions and spectacular a musical can be. They've missed out! The last BIG production we've had was Bat Out Of Hell and I can't even remember what the biggest one was before that. Bring back the sensory overload - I love it! (I have high hopes for Back To The Future..... We'll see!)
|
|
|
Post by elizapot on Jan 30, 2020 11:30:59 GMT
The recurring problem at the root of these stories comes down to bad producing: METROPOLIS- egomaniac at the helm; GHOST- terrible lack of control of costs; MOBY- wrong producer, with Cameron just not knowing how to make it the next Rocky Horror as it could have been; CLOSER TO HEAVEN- heavy-handed interference in the artistic process (plus a dollop of bad luck leading to scheduling conflicts for some key creatives). However I would take any one of those over the current trend- not sure whether we are in an Anti-Golden Age or whether this is Austerity Theatre, but I can't bear the cut-down, striped-back, underpowered productions of shows that demand spectacle. And musicals are a heightened form- they need spectacle.I can't agree that "it's the best we're likely to get/ it's the only way we can produce these show"- especially when the end product misrepresents what the show was meant to be: Menier and Hope Mill are lead offenders in this respect: no I don't want a chamber-piece La Cage because I remember the sumptuous, glorious original. I'm not grateful for a Mame with 3 in the band- no wonder Herman was unhappy! An actor-muso Chess? F-off! I know not every new show is under-produced, but I worry that there is a generation of young performers and audiences who will see anaemic productions of classic shows and think that is the way they are meant to be. So Bravo to Which Witch, Metropolis, Hunting of the Snark, Children of Eden, Ziegfeld et al for being BIG glorious disasters!I couldn't agree more. I LOVE spectacle. And they can harp on about the current cut-back era being artistic choices as much as they like - we all know it's all to do with money. I even think it affects the writing process. When Waitress/DEH/Come From Away were being commissioned/written they'd have known how cheap they'd be to produce on stage. You're 100% right - it's a real shame that an entire generation think the current crop is as ambitions and spectacular a musical can be. They've missed out! The last BIG production we've had was Bat Out Of Hell and I can't even remember what the biggest one was before that. Bring back the sensory overload - I love it! (I have high hopes for Back To The Future..... We'll see!) Surely something like & Juliet counts as a massive spectacle?
|
|
|
Post by Deleted on Jan 30, 2020 11:39:07 GMT
I couldn't agree more. I LOVE spectacle. And they can harp on about the current cut-back era being artistic choices as much as they like - we all know it's all to do with money. I even think it affects the writing process. When Waitress/DEH/Come From Away were being commissioned/written they'd have known how cheap they'd be to produce on stage. You're 100% right - it's a real shame that an entire generation think the current crop is as ambitions and spectacular a musical can be. They've missed out! The last BIG production we've had was Bat Out Of Hell and I can't even remember what the biggest one was before that. Bring back the sensory overload - I love it! (I have high hopes for Back To The Future..... We'll see!) Surely something like & Juliet counts as a massive spectacle? Ish. I mean it is probably the most spectacular new musical on stage at the moment in London (and coincidentally my fave West End show currently other than Les Mis/Phantom) but that's in the context of expectations having been re-set. It's spectacle comes from great projections and an amazing concert like lighting design. But the actual physical set is pretty simple, with cast moving most of it around. Those fully automated huge sets that folded to reveal scene after scene were epic. Imagine combining one of those with the lighting and projection technology we have now!
|
|
|
Post by Deleted on Jan 30, 2020 17:25:22 GMT
I'd take a guess at Lord Of The Rings being the last show before Bat, that had massive spectacle. So many revolves, that split, created steps, spun in every direction. Even the fireflies in that show had more stage magic than alot of new shows.
But a special shoutout to the crystal curtain in Dreamgirls and the smoke filled bubbles in & Juliet!
|
|
6,334 posts
Member is Online
|
Post by danb on Jan 30, 2020 17:41:50 GMT
‘42nd St’ had big budget spectacle, it just wasn’t ‘fantasy’ spectacle. Something like ‘Curious Incident’ with interesting modern set design can be just as thrilling as the likes of Bat, because of how much it is part of the piece.
|
|
|
Post by intoanewlife on Jan 30, 2020 18:15:00 GMT
‘42nd St’ had big budget spectacle, it just wasn’t ‘fantasy’ spectacle. Something like ‘Curious Incident’ with interesting modern set design can be just as thrilling as the likes of Bat, because of how much it is part of the piece. Agreed on both counts x
|
|