1,010 posts
|
Post by David J on Oct 20, 2023 10:08:04 GMT
Hamilton is a unique show that will probably sell out on the road. Everything else isn’t selling as well as it would have years ago. It’s just a fact that the touring market is on its last legs. Personally speaking, I now see far, far fewer shows in my local regional theatre than I would have years ago. This is because I have a finite amount to spend per year on theatre, and I prioritise the West End over touring stuff. If the West End was a bit more reasonable in terms of cost, I would have more to spend on touring shows closer to home. I don't see much local theatre down in Hampshire nowadays because there's barely any interesting plays or revivals touring our way anymore. Sure The Mayflower is well served with the big familiar musicals, but pre-covid there were more touring shows to take your pick. You have to go further to Chichester, Bath, or the Watermill Theatre, the leading producing UK theatres, for anything interesting. Otherwise there's the occasional short run of a small-scale touring production amongst endless tribute acts, stand up comedians, an evening with someone mildly famous, children's shows etc. It's sad that the Nuffield Theatre closed (leaving behind the MAST studios that is in the same rut) and all Salisbury Playhouse could muster up themselves this autumn is a revival of Jeeves and Wooster in Perfect Nonsense, when they used to be a reliable venue for a variety of revivals. My interest only perked up to see London Classic Theatre is bringing Brien Friel's Faith Healer to Winchester next month. Of course we have local amateur companies who can put on the familiar musicals and plays. So whether financially the touring landscape is dying, I'll leave it to others to explain. But looking around at the local receiving theatres in my area I'm not surprised if so.
|
|
1,010 posts
|
Post by David J on Oct 10, 2023 22:12:32 GMT
Go and see this in Chichester or Kingston if you can. I only saw the 2014 Ivo Van Hove's production before and remember how tense it was. This production you get a mixture of tension and absolute tragedy, because what starts off as a car crash in slow motion for Eddie turns into a pile up for everybody.
The cast is mostly outstanding. I went to see this for Jonathan Slinger and whilst I'm not sure where I'd put him next to Mark Strong, Slinger once again reminds me what a great actor he is. His accent isn't the most natural next to the others but he digs deep below Eddie's multi-layered surface. There comes a point in the first act where he is telling Catherine that Rodolpho only wants her to get his citizenship where his macho, man of the house persona cracks and Slinger shows vulnerability and desperation that slowly takes over him as the play goes on, and I saw what a tour-de-force performance he was giving.
Kirsty Bushell is consistently strong next to Slinger. Beneath her bravado you feel her frustration and fear for Eddie. You also sympathised for Nancy Crane's Alfieri trying to dissuade Eddie from his self-destructive path. You're not only watching the pile up happen, you're with all these characters trying to avoid the tragedy unfolding by the end. Even the supporting actors get a chance to shine like Luke Newberry as Rodolpho in his scene with Catherine.
If there was one performance that didn't stand out it for me it would be Rachelle Diedericks as Catherine. She gave a good performance but the others outshone her.
One of the best shows of the year.
|
|
1,010 posts
|
Post by David J on Oct 6, 2023 13:18:59 GMT
The sad thing is a lot of youths today, with high inflation and the job ladder becoming increasingly challenging, are more inclined to make a movement their own identity when they have nothing meaningful in life to do.
Same with a lot of movements nowadays
So they will be willing to do stupid stunts and whenever any reasonable voice tells them a counterpoint they put their fingers in their ears and shout the ist words to shut out anything that shatters not only their world view but who they’ve built themselves up to be
|
|
1,010 posts
|
Post by David J on Oct 4, 2023 22:30:34 GMT
I agree with their right (and the need) to protest about this, but the way they go about it is so stupid. Why don’t they glue themselves to the gates outside Downing Street or an oil refinery? Or the many coal plants in China, the lithium mines or other high polluting industries instead of us regular folk who have been trying to do our bit for the past few years without these idiots shaming us. I mean these groups somehow get funding, surely they can scrounge enough money to take a trip to these places to do meaningful protests and get the word out.
|
|
1,010 posts
|
Post by David J on Oct 2, 2023 7:19:40 GMT
The 2016 RSC production with Joseph Millson was an absolute treat to watch
|
|
1,010 posts
|
Post by David J on Sept 22, 2023 18:49:12 GMT
Reading everyone’s about the second act opening and all I can think of is at least it isnt cringe like the stunt done in Ivo Van Hove’s Roman Tragedies
😅😅😅
Could you imagine doing that stunt for the ending instead as Nicole says I’m ready for my closeup
|
|
1,010 posts
|
Post by David J on Sept 20, 2023 15:46:30 GMT
To be honest this whole shouting and angry stuff has gradually been taking over for the past decade I have been watching Les Mis at the Queens/Sondheim.
It feels like a combination of actor's choice, making up for limited vocals or the general direction nowadays. Trevor Nunn's touch has faded away. I watched recent interviews with Philip Quast where he describes Trevor's direction or his approach to the roles he plays (techniques the RSC teaches). And you look at Philip's performance as the ultimate Javert and performances nowadays and it's night and day.
Javert's Suicide in particular seems to be the moment the actor wants to put his stamp on it and show the pain and angst Javert's going through. There's an audio of a performance out there with David Thaxton's Javert earlier this year. For most of it I felt wow David is giving a great performance here. Wished I saw him live. Then he turns all shouty for the Suicide. Sigh
And it seems from that audio that the military officer in the Final Battle is all shouty and emoting. Obviously lifted from the Gielgud concert. And I hated that. To me he should be emotionless and commanding. Representing a indominable force that the students will not survive
|
|
1,010 posts
|
Post by David J on Aug 27, 2023 8:28:53 GMT
I liked this but had problems with it. I'm not down on this as intoanewlife but there were times, particularly in the first half, where I was wanting the musical to settle down and let the characters express their situation without belting a ballad every 5 minutes.
And maybe that helps portray bipolar disorder. But there comes a point when Gabe is belting "I'm alive" whilst Diana is telling Dr Madden her situation, and I just wanted him to shut up and let Diana sing a number where I can get to more about her. But everyone else lapped it up.
And the way the first act moves along doesn't help. At times I liked the overlapping stories and there were other times where I wondered how far in time we've jumped. No sooner had Diana got rid of the pills and Gabe tells her she should not tell Dan then she comes on with the cake and Dan finds out she hasn't taken the pills. I didn't feel unnecessary but again I wished the musical could settle down and explore Diana getting some semblance of a life back with her family off the pills, instead of summing it up in that happy, clappy "It's Gonna be Good" number.
For me, the character that stood out was Natalie. Played brilliantly by Eleanor Worthington Cox by the way. Because it was her scenes where I felt I got to know her situation and how Diane is having an affect on her. The musical just settles down in her scenes.
I get what they were going for with Gabe being Diane's psyche, though at this point its an predictable old trope for me nowadays. You only got to see Diana being the only one talking to him to work it out quickly.
So the first act flitted between 4 and 3 stars. However, the second act was 4 star worthy for me.
The musical finally slowed down and give characters breathing space. Though near the end where the musical cuts to Diana telling Dan she's leaving I thought we've skipped some conversation here I would have liked to have seen.
Jamie Parker came into his own here. Seeing what he goes through is heart-breaking. I didn't have a problem with his singing but his acting is definitely what sells his character.
Cassie Levy was great but I wanted to see more of her character if the musical had allowed it. I felt if we had less Gabe there would have been more time to hear from herself.
The doctor felt like a something and nothing role for Trevor Dion Nicholas. I would have loved to see his own perspective when Diane has gone away. He only stood out with his rock star belting moments - though all I felt was 'okay?'
I'm giving this a 3.5
|
|
1,010 posts
|
Post by David J on Aug 26, 2023 19:00:37 GMT
Another techicsl issue tonight. Enjoying it so far
The movable counter was proving a challenge to move for the actors. Just stopped the show to sort it out
|
|
1,010 posts
|
Post by David J on Aug 22, 2023 6:41:43 GMT
Do they still offer standing tickets in person at 10am on the day or is it all sold in advance nowadays
|
|
1,010 posts
|
Post by David J on Aug 20, 2023 9:16:59 GMT
Things are really getting out of hand with Rachel Zegler's comments. And this is after Disney decided to listen to Peter Dinklage and deny six dwarf actors (at least they have one) work in the film. By trying to make themselves look inclusive they did the complete opposite. I mean for goodness sake Dinklage said the seven dwarfs lived in a cave. Did he not watch the film. People across the board think Zegler is being insufferable in this case. Even the diehard Disney fans who would defend anything thinks this remake of Walt's classic film is a step too far. She says she dislikes the story she's starring in, calling the prince a stalker, and saying the whole moral of the story about vanity has been removed and now will focus on Snow White's inner struggle. And people are calling out her contradictory commentsNow to be fair, I think some of the things she's said have been by design from the movie's PR team. But it's becoming clear that people are taking note of controversies surrounding films or the actors and directors' 'hot takes'. Despite everything going for The Flash with Michael Keaton's Batman returning, people heard about Ezra Miller's antics and decided against see it. The newly released Blue Beetle had some controversy calling Batman a 'fascist' in the trailer and the director's political hot takes on twitter that were soon taken down, and is already predicted to be the latest box office bomb this year And now branding experts are saying Zeglers comments will affect Snow White's box office success. I suspect Disney is giving Rachel a talking to at the moment. She hasn't starred in a lot of successful films (and yes that includes West Side Story) so she hasn't exactly got the clout to be throwing these comments around. I think film studios are going to have a tighter leash on what actors and creators say about their films in the future.
|
|
1,010 posts
|
Post by David J on Aug 19, 2023 18:57:26 GMT
|
|
1,010 posts
|
Post by David J on Aug 19, 2023 13:50:02 GMT
That's right wing nut jobs who have turned on them over the last couple of years for going 'woke'. It's half the price of Netflix which has been dire for the last 12 months, so it's staying in my house but NF is being shown the door. Well I'm glad you're enjoying your Disney+, but it's already lost 4 million subscribers in the first quarter this year (https://www.theguardian.com/media/2023/may/11/disney-loses-4m-subscribers-amid-exodus-in-indian-market) and another 11.7 the second quarter (https://www.nytimes.com/2023/08/09/business/media/disney-earnings.html), partly because Disney stopped paying for the rights to stream cricket for those in India, and they're loosing money on it. They already taken off stuff like Willow and National Treasure series that barely anyone watched. And what have we got to look forward to later this year? Maybe people will subscribe once for Ashoka, Loki 2 and I am Groot, but people are getting tired of Marvel and Lucasfilm's output. And if their major cinema releases this summer have been box office failures (https://screenrant.com/disney-movies-summer-2023-box-office-bombs-disappointments/) what chance is there that they'll bring in subscribers when they come to the platform So lets see how many more right wing nut jobs they loose in the next few months. Point is, many people aren't finding that much value in Disney or Netflix. You can find way more value for free on Youtube. I certainly do.
|
|
1,010 posts
|
Disney+
Aug 16, 2023 6:54:24 GMT
via mobile
Post by David J on Aug 16, 2023 6:54:24 GMT
Cancel Disney plus is now trending on social media. Looks like people are saying the content being put out there is not worth it. I mean from what I hear from discussions of secret invasion and mandalorian season 3, I’m not surprised
|
|
1,010 posts
|
Post by David J on Aug 10, 2023 14:36:06 GMT
Saw this tonight from slip seats above the stage. What a wonderful theatrical experience from a very strong cast and crew. A proper treat. I was so impressed at what was achieved in this intimate space and while I rather liked the Drury Lane version, this was more powerful for me. Ok, I felt the balrog effect was a bit weak so that scene fell a bit flat, but there was so much else to applaud (Shelob: wow). And the glorious ensemble singing: I don't think I could ever tire of "Lothlorien". I really look forward to returning. I’ve booked the slips for October 15, can you expand on the view from these please? Was it a good view? Could you see everything from where you were? You can. Most of the action takes place on the stage and the slips are used particularly at the start of the second half. Its only at the end, if they do it inside, where some characters stand under the slips and speak some lines but it's not an issue.
|
|
1,010 posts
|
Post by David J on Aug 9, 2023 6:20:23 GMT
I saw the show yesterday
The musical director was on again as Galadriel. The show stopped for a few minutes during Moria and it was announced the actress had taken ill. She did a good job and the audience applauded her rapturously
Sitting p22 was a great view. If you can get a seat in the slips you can’t go wrong with it
We were outside for the start but as it rained during the show we stayed inside for the end. The outdoors stuff was fine but you wouldn’t miss anything if this was done indoors
This is certainly the cliff notes version of lord of the rings. The first act is fellowship of the ring and then they smush together the fall of Isengard and the Battle of the Pelennor Fields together
The folksy music is charming and I enjoyed the battle music as much as I remember listening to the original cast recording (wish I saw this at Drury Lane with a full orchestra) but the songs are forgettable. Apart from galadriels songs and chanting here and there. It did make the 3 hour + show feel long.
The balrog was a let down for me. I wasn’t expecting too much but seeing what they did with shelob later (the best set piece of the show) a floating head of the balrog would have been better than what they do here
The highlight performances were Frodo, Sam, Gandalf and Gollum giving his inner Andy Serkis
3.5 stars for me. The efforts of the cast and some of the sets is what carry the show
|
|
1,010 posts
|
Post by David J on Aug 8, 2023 20:25:43 GMT
Roger Allan’s falstaff all the way for me. David Warner was my first falstaff in Michael Boyd’s histories but I can’t remember much now. I did think Boyd’s vision didn’t match with Henry part 1’s lighthearted tone. Part 2 was better, and that was directed by his assistant director
I do also remember liking Anthony Quayle in the 1979 bbc version
|
|
1,010 posts
|
Post by David J on Aug 7, 2023 22:14:10 GMT
Note for anybody interested - new inexpensive rear circle seats added, so previously sold out shows on certain dates might now have availability. Worth looking if you are restricted by budget or date. Just to say I don’t know how they work the sound system in the watermill theatre but last time I was there (to see the first half of the suspicions of me whicher) I sat towards the back of the circle for the first time. It was obvious they had micked the stage up for those at the very back Except the audio they had was distractingly bad. Very dead. So I’m watching the characters speak not far away but listening to them as if they’re speaking through loudspeaker from a sound booth I hope thets not the sound system they use for all their productions
|
|
1,010 posts
|
Post by David J on Jul 30, 2023 22:59:33 GMT
I'm expecting to miss a few things but how much happens to the sides of the stage under the slips?
|
|
1,010 posts
|
Post by David J on Jul 29, 2023 10:17:58 GMT
I expect there’s a number of reasons why each show is closing but the prices and cost of living is a big factor
Some shows with stars or a smart marketing campaign may be daring better but people are choosier nowadays.
This isn’t just happening in theatre. You can only look at the string of movies that have bombed this year. Some of them were seen as money makers like The Flash with Michael keatons Batman
|
|
1,010 posts
|
Post by David J on Jul 18, 2023 23:06:20 GMT
With all this talk of AI is there anything to stop a studio getting the agreement of a deceased performer's estate and using that likeness in films? Disney has certainly done it with Peter Cushing as General Tarkin in Rogue One. Then there's the Flash movie recently. And James Earl Jones gave his permission for his Darth Vader lines to be AI generated in the Kenobi series and undoubtedly it would be easy enough to use that posthumously if he has also given permission for that.
|
|
1,010 posts
|
Post by David J on Jul 18, 2023 14:06:15 GMT
Part of me is excited for this and another thinks nothing will surpass the brilliant 2012 RSC production. Neither the Jamie Lloyd or last year's touring production did. One of the best revivals I saw in the previous decade.
There was no gimmicks or artistic flair to it. It was a straight production but the direction from David Farr and performances from the cast like Nicholas Woodeson's Max and Jonathan Slinger's Lenny, delivered a tense and shocking production. I saw the ending coming and yet still left stunned by it.
Jamie Lloyd as a director, as people have discussed above, is style over substance. Maybe with the right people like James McAvoy can elevate his productions. Too much production values in his Homecoming and he directed the men to be over the top. Don't I recall he had the Teddy character bite on his hand out of shaking fear or something at one moment. Tried too hard to show how macho and misogynistic the men are when it's there in the play already before they're subverted by Ruth.
And I fear Matthew Dunster is going to do the same with this "bold, spare refocusing of Harold Pinter’s powerful masterpiece". Re-inventing the wheel as it were.
|
|
1,010 posts
|
Post by David J on Jul 14, 2023 17:12:00 GMT
Agree on this to some extent - Hollywood now is a shadow of its former self creatively, mostly turning out films which could just as well have been written by AI: feed a bunch of old Star Wars toys or Marvel comics plus 'Save the Cat' into a script generator and away you go, or remake your cartoons as live action or vice versa. Barbie and Oppenheimer will likely be the tentpole films of the year and the first of them is yet another toybox movie. Nothing wrong with using IP, people seem to think Hollywood was an originality factory which has never been the case. I do think people here don't realise it's called Show Business for a reason. True, but its what you you do with the IP that is the growing issue. This year has had a string of films based on existing IP that are underperforming or worse bombing. Indiana Jones, Little Mermaid, The Flash (and I thought that would do well with Michael Keaton's Batman returning), Dungeons and Dragons, Ant Man 2, Shazam 2. And there are a number of issues why these aren't doing well, but I think the quality of the writing and production is certainly one of the main factors. An issue that has been going on for a few years now (you only have to look at the declining quality of Marvel's films and tv series since Endgame) and general audiences have caught on to that The ones that are doing well like Puss in Boots 2, Mario, Spiderverse 2, and now Mission Impossible. They may or not be the best films of all time but audiences are going to them because they focus on strong story telling, are stylish, and are catering to those audiences. Hollywood hired too many writers recently, especially during the pandemic when they wanted to get content out on their streaming services. Writers who produced content of mixed quality. Now the low box office numbers are biting Hollywood's ass. These writers on strike should really be focusing on proving why they should stay in a job in the next couple of months.
|
|
1,010 posts
|
Post by David J on Jul 14, 2023 15:02:34 GMT
Commenting on the writers strike. I've been listening to commentaries like this from youtube channels like Clownfish TV.
Thing is, a lot has changed since the 2007-8 writers strike.
Movie studios learnt from that and now have movies in pre-production in the pipeline to keep us entertained. TV channels also have more popular shows from the last decade to put on repeat.
The fact that they are prepared to negotiate with directors and actors first says a lot. A lot of directors are also writing their own shows/movies these days so they are considered more important than the writers themselves.
There's also the fact that economy isn't in a good place and Hollywood in general is not doing very well. There's been a number of box office bombs this summer. It's poor timing to go on strike during an economic downturn, with frankly unrealistic demands, because the writers have now put a target on their heads. Hundreds of journalists alone are getting laid off at the moment.
Companies like Netflix has also been relying on good cheap foreign films from places like Korea. Films that are more interested in telling a story than driving through a message or agenda. Would you rather pay to have a killer film like Squid Game on your streaming website or more expensive projects back home that may or may not succeed.
The elephant in the room however is AI. Hollywood is gradually relying on AI to generate a general script and then you only need one or two people to spruce it up.
And when the writers union is demanding 10-20 writers and a certain make-up in the writers room at one time, Hollywood is going to look at that and scoff at it. Too many cooks in the kitchen. Many of the most popular and well received shows were the result of one of two people's vision.
And given the decreasing quality in film scripts over the past few years I have less sympathy for a lot of these writers. Inevitably the writing jobs will shrink and Hollywood is going to rely on a few writers who can deliver quality scripts.
|
|
1,010 posts
|
Post by David J on Jul 11, 2023 13:13:25 GMT
You know the more we have these anniversary concerts and flaunt them around the less meaning they have.
Once we'd be having a gala night each 5 years and save the big concert for 10th and 25th anniversary
But I suppose that's Cameron for you.
Then again I think the longest running musical title became mute when the Queens Theatre production, with the original creative team's vision, closed
|
|
1,010 posts
|
Post by David J on Jul 7, 2023 23:05:04 GMT
In recent years I have left a few shows where I just felt I could cut my losses and havdd we an early nights sleep than watch more of a mediocre show
The Adjoa Andoh Richard Ii at the Sam Wanamaker Last years paradise now at the bush theatre The suspicions of mr Whicher at the watermill theatre
Not that they weren’t awful but neither did they excel
|
|
1,010 posts
|
Post by David J on Jun 30, 2023 17:30:23 GMT
I feel local theatre, where I live in centre-ish Hampshire is also feeling the affects badly
The Mayflower Theatre is the place to go for the big touring shows certainly, but there's barely anything of interest, to me, at the mid-sized and smaller venues.
I'm talking places like Salisbury Playhouse, Winchester Theatre Royal, the Southampton MAST Theatre (whats left of the insolvent Nuffield Theatre), New Theatre Royal Portsmouth, Basingstoke Haymarket, Lighthouse in Poole. Where a decade ago they'd be producing revivals or bringing in touring companies like English Touring Theatre, Northern Broadsides and Headlong expanding the repertoire of plays you could see
Nowadays the touring companies are sticking to a few theatres closer to home and the theatres are nowadays are sticking to very safe choices to make revenue. Tribute band nights, comedians, kids shows, screenings etc. Salisbury Playhouse was a great venue to see a season of plays. This autumn they've only got Jeeves and Wooster and the panto.
And to be fair it was moving that way before Covid but nowadays if you want to see something interesting or a revival of a play you've never seen before, London is your best bet. Bath Theatre Royal would be my next choice, though I'm yet to try anything they're currently putting on in the studio because the prices are too high for me, then Chichester and the Watermill Theatre (though their adaptation of The Suspicions of Mr Whicher was underwhelming)
Happily I can see there's touring productions of this Henry I and Faith Healer coming to Winchester. Still, not what local theatre used to be
|
|
1,010 posts
|
Post by David J on Jun 28, 2023 17:54:16 GMT
Quite a surprise they would do Ghosts and quite a long run too. Joe Hill-Gibbins directs with the threat that it is “a new version”. I was interested, then you pointed out the guy who directed Edward II at the NT, that muddy Midsummer Night's Dream at the Young Vic, and Richard II at the Almeida. Thanks for saving me any more interest in this!
|
|
1,010 posts
|
Post by David J on Jun 26, 2023 22:12:33 GMT
Again I'd say if you have seen 39 Steps, any of La Navete Bete's recent shows like Three Musketeers or Treasure Island, or any small-scale touring production with a cast of 4-6 multi-rolling characters, singing and telling a story or subject matter with added humour, then this isn't anything new. No matter how much scale they've added to the show
I agree it's funny and has some highlights including that love letter song and the cross wired scene. And the cast gives their all, just like any cast of this type of show. But I still find that nerd stereotype they use to be terribly dated.
All I can say is to anyone who is trying to get a lottery ticket is keep trying. Or wait for the show to go on tour. Because I'm glad I didn't even pay £40 for this
|
|
1,010 posts
|
Post by David J on Jun 24, 2023 23:05:06 GMT
After so many years since the first run I saw it again with a friend
This time however I’m over the spectacle of the show and am actually joining the dissenting opinion
The main problem I have is the first act, which goes on too long with sequences and jokes they linger on too long
Jokes that my friend felt verged on vulgarity compared to the film. The Avenue Q kind of vulgarity. And re-watching scenes from the film I can see where he’s coming from
Sure this is a musical adaptation and you want to play up and make fun of Phil Connors behaviour. And Andy Karl’s interpretation of the role is still great. But the musical goes too far to show how much an asshole Phil is
There’s a groundedness to the films delivery, together with bill Murray’s natural performance, that is missing here. The first act works hard to bring you pizzazz, hijinks tricks and jokes but it gets tiresome and I could have cut 10 minutes out of it
Sequences like when Phil tries getting medical advice, where the musical extends the sequence from the film and includes a colonoscopy where I thought “did I really need to see that”.
It’s only in the second act that the musical finally settles down and we see character growth from Phil. It made me realise that this what what I like the most the first time I saw the musical. Especially the big dance sequence with the groundhog on the drumkit driving the story along and the very ending.
Still, I feel a play adaptation might have been better than a heightened musical. I can only vaguely remember the ‘There will be sun’ song
3.5 stars for me. Production values and performances great for me. It’s just the long first half that let it down for me
|
|