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Post by SageStageMgr on Mar 30, 2017 17:43:16 GMT
So, I am now seeing this tonight, and I suspect wasting 2 and a half hours of my life and £35... but I could be wrong, and I honestly hope I am and the show shocks me.
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Post by SageStageMgr on Mar 30, 2017 17:39:56 GMT
Jane Asher one of the LEAST good things about the show, along with Haydn Oakley, who isn't up to it vocally -- the dancing is glorious and to demean Robbie Fairchild (*a ballet world bona fide star) is so infantile as to not be worth further comment. The designs, too, are among Crowley's career best, which is saying a lot ! Crowley as in Bob "Love Never Dies" Crowley?! Oh wow...
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Post by SageStageMgr on Mar 30, 2017 17:11:56 GMT
It's been on nearly a month!!! No covers?!
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Post by SageStageMgr on Mar 30, 2017 17:04:41 GMT
f*** it! Mad dash to TKTS then! Thanks for the tip, I'm not on Twitter and would've gone straight to the venue and been without a show at all. Thank you!!!!
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Post by SageStageMgr on Mar 30, 2017 17:02:24 GMT
Saw the matinee today - 3rd and, alas, last time. They were recording the performance with two cameras and it felt like the cast cranked it up a notch. It was a wild show. Frances Ruffelle was intense and amazing as was Simon Thomas as Black. Not enough attention has been paid to him - he's wonderful in an underwritten and difficult role. At one point in the second act, Lizzy Connolly was on her knees about a foot away from me (first row) lighting a cigarette and listening to Ako Mitchell singing Golden Boy - a moment in which she's totally in the shadows - and there were tears streaming down her face. Talk about an actor being in the moment. This show is like that. I think it's a genuine masterpiece and this has been a brilliant production of it. Masterpiece is a big, big word. What in your eyes separates it from other shows you merely "really liked"?
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449 posts
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Mame
Mar 30, 2017 16:43:04 GMT
via mobile
ali973 likes this
Post by SageStageMgr on Mar 30, 2017 16:43:04 GMT
Listened to this show, as my ex was a huge Lansbury mark.
I've got to say, to me - and I'm sure to people who LOATHE musicals - it's the definition of the dated "Broadway" musical, with campy chorus boys, bizarre accents and an afterthought of a book. I remember a hilarious bit where the young lad is singing a high tenor as a child, then the voice suddenly switches to a comically deep adult bass-baritone to signify years passing.
Also, there's a bit where someone falls off a cliff and dies.
Actually, the more I think about it the more I like it.
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Post by SageStageMgr on Mar 30, 2017 16:35:57 GMT
Re above: "attitude problems"
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Post by SageStageMgr on Mar 30, 2017 16:30:36 GMT
Thanks for the tip, Anthony. Enjoyed seeing it at the Globe, but felt it wasn't a patch on the electric Craig Revel Horwood adaptation starring Kathryn Evans (and I fully appreciate I'll get crucified for saying that)
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Post by SageStageMgr on Mar 30, 2017 16:28:53 GMT
Looking forward to seeing this tonight. Keeping an open mind... several pre-show cocktails hopefully will set the mood.
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449 posts
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Spamalot
Mar 30, 2017 16:24:37 GMT
via mobile
Post by SageStageMgr on Mar 30, 2017 16:24:37 GMT
Just a note on Selladoor, I wouldn't expect vastly superior production values to the previous tour. Their whole schtick is cheap and cheerful.
I saw their Avenue Q at the Dome in Brighton in 2015 and the show was stopped for around 25 minutes due to a large piece of the scenery falling forward and going splat, mid-way through Act I. The stage manager took to the stage and announced "technical difficulties". Bad management left the audience sat in semi-darkness for what felt like an eternity.
Luckily, nobody was hurt and the remainder of the show continued with a large brace propping up the offending set piece.
Given that has been my only experience so far of a Sell a Door production, forgive me for not expecting Cam Mack standards.
Besides, it's Spamalot. Who honestly cares after twelve years...
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