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Post by SageStageMgr on Oct 8, 2018 19:44:26 GMT
I was going to suggest having Boris Johnson as the narrator as he isn’t doing very much, but seeing him in suspenders probably isn’t something you would really want to see. Speak for yourself - the sight of a pasty, middle aged saggy right wing politician in a sexually provocative outfit is big money to... someone? Probably.
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Post by SageStageMgr on Oct 8, 2018 19:37:16 GMT
I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more. Yep. Anyone who's watched an episode of Toast of London could confirm. Had to Google it... but wow, how have I missed that show? Gone straight to my “to watch” list!
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Post by SageStageMgr on Oct 8, 2018 19:33:14 GMT
How about we also stop talking about “riffs” and how FAVOURITE ELPHABA HERE enters 0.2 seconds later for NAME SCENE HERE which makes her unique. I agree, everybody knows that Emma Hatton has the best riffs and Ashleigh Gray enters 0.2 seconds later for One Short Day which makes her unique anyway I know right! I the bit when Emma... Hatton?does that thing later in the show! When she hits that D instead of the B#, I nearly got overexcited and had an accident. I jest of course. I *did* have an accident.
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Post by SageStageMgr on Oct 8, 2018 19:28:44 GMT
It appears that telling people they should die crossed a certain line with the Youtube algorithm, the video has been removed! More likely someone reported it for hate speech.
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Post by SageStageMgr on Oct 8, 2018 19:07:12 GMT
They've just posted a picture of empty chairs on their instagram Or a hint that it’s not doing that well? 😉
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Post by SageStageMgr on Oct 8, 2018 19:01:56 GMT
Do waa baa daa doo bop, though? Shaving foam. I wondered what that white foamy stuff on your chin was 🤔
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Post by SageStageMgr on Oct 8, 2018 18:58:26 GMT
Both, either, case by case. I guess as a rough generalisation, agents are more likely to have a biog on file for established actors, while newer actors or those acting in smaller productions are more likely to be asked to email one over. If you work for the same company like say the RSC a lot they probably just re-use the same one. (I noticed Chris Eccleston's bio pointedly doesn't include what many would consider one of his best known-roles, I'd love to know if that's him being petty or his management being diplomatic.) I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more.
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Post by SageStageMgr on Oct 8, 2018 18:53:13 GMT
Just lately at curtain calls I've noticed the cast point towards the circle/grand circle for the audience appluase in the save way they do for the orchestra down in the pit. What'a that for then? I'm sure it's only something I've noticed recently. Hello! We make the show work *waves*
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Post by SageStageMgr on Oct 8, 2018 18:52:27 GMT
Usually it goes on the total number of performances in a given time frame - a child licenced by a particular local authority may be allowed to play 75 shows in 365 days, for example. It was a fairly short run at the Young Vic, so they probably got children with that kind of long licence permission to do it. Some play the system, too, and licence the kid in one local authority (where they live) for half the time, then get a fresh licence in another authority (the one they go to school in, say) for the rest. I think the number of hours schooling plays a part, but applies to term-time, and this run went through the school holidays, which helped. Can confirm having worked with children extensively.
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Post by SageStageMgr on Oct 8, 2018 18:51:09 GMT
What is Marti Pellow up to these days? He’s getting ready for a mini-tour of minor seaside towns in his one man show “Songs I Sing Without Moving My Mouth’. It was originally called “Through Gritted Teeth” but realised that Ruthie Henshall had already done that. That deserves an immediate “follow”.
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Post by SageStageMgr on Oct 8, 2018 18:48:44 GMT
It's fair enough to cancel them but I always thought there was an acceptable period of time after which companies had to honour it Basic contract law requires "consideration" - even if only a symbolic penny or a button - as part of the contract. With no money exchanged, the contract potentially can't be held to exist. There's also the rule of "mistake" by which the contract can also be annulled. This. My brother works in law for a bank and he says it’s much like the “I found it at this price on the shelf, you have to honour it” stuff. It’s simply not true. The ideal thing they would do is issue an apology to each customer personally, explain the situation, and take the payment agreed (the ticket price). If they were feeling generous/PR conscious they could offer a free programme voucher with their ticket or waive the booking fee, or both.
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Post by SageStageMgr on Oct 8, 2018 18:43:44 GMT
I’m already bored with Evan Hanson, frankly. Hmm Bop Do waa baa daa doo bop, though?
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Post by SageStageMgr on Oct 8, 2018 18:18:55 GMT
Okay, let's stop talking about her, let's stop thinking about her, as people have already says, this response every time she uploads a video just feeds the fire. No more Sarah Louise on this thread again. How about we also stop talking about “riffs” and how FAVOURITE ELPHABA HERE enters 0.2 seconds later for NAME SCENE HERE which makes her unique. I’ve worked on these shows and I know how little creative freedom is involved. It’s desperate that fans cling onto a show/favourite cast member being special because of a minor (and I mean minor) difference. Compare Shoshana Bean to Idina Menzel - slightly different (but rehearsed, choreographed and agreed with creatives) to know how each “unique” aspect of the show has changed in the last 13 years.
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Post by SageStageMgr on Oct 8, 2018 17:33:26 GMT
I watched the whole thing and to be honest it didn’t even anger me that much because she’s just completely irrelevant, has no idea what she’s talking about, and no one gives a (flying) monkeys about her opinions. She did say she’d never go near Wicked again if Laura gets a promotion at cast change, anyone want to help me make some “Laura for Lead” placards to put up outside the AV? I would but I don’t know who Laura or any of these people are. Is Idina still in it? She was perfecto 👍
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Post by SageStageMgr on Oct 8, 2018 16:21:50 GMT
So the controversial fan has put up a new video of her least favourite Elphaba's, and I'm actually quite shocked. She not only goes in on their performances (which she says she hasn't seen live!), but gets personal about them. I'm quite stunned to be truthful. When someone says "I don't like their performancs", fair play, thats one thing... but to say "I hate her, she could fall off a cliff and I wouldn't care, she is desperate for fans". That is not OK!! What a bitch. Yes, I completely manly chest hair. Sorry, agree. I got distracted.
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Post by SageStageMgr on Oct 8, 2018 15:22:45 GMT
Reckon Duncan James will actually be great in this. Really liked him in Priscilla and he’s as camp as Christmas. But has he got the nasty edge?
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Post by SageStageMgr on Oct 8, 2018 14:29:19 GMT
Since we’re in this day and age, isn’t the cast a bit...white...? They’re all too fat.
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Post by SageStageMgr on Oct 6, 2018 22:48:13 GMT
Not been the same since Keith Burns left. The definitive Narrator I'm a Warwick Evans fan myself. I did actually see Warwick Evans. I love him on the 1995 cast recording. Was a little disappointed in him live, I booked specifically to see his return to the show in the tour quite a few years back. Thought he was quite wooden but vocals were good. The main thing I remember was his magnificent, bouffant 80’s hair, which was spectacular and stole the show.
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Post by SageStageMgr on Oct 6, 2018 21:27:35 GMT
Not been the same since Keith Burns left. The definitive Narrator
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Post by SageStageMgr on Oct 6, 2018 21:24:30 GMT
I shall catch the 2024 revival at the Union Theatre, with many fresh out of drama school graduates and a helicopter made from Ping-Pong balls. Don’t be silly. They’ll have graduates ‘play’ the helicopter - much cheaper. Oh my God, yes. Make this happen. Couldn’t help think of Forbidden Broadway, the Les Mis “revolve”...
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Post by SageStageMgr on Oct 2, 2018 16:44:28 GMT
I hear what you’re saying. But I believe it DOES adversely effect the quality of the show having such a uniformly young (and inexperienced) cast, especially those elevated to lead roles written for older performers. Having a main character change skin colour half way through the show without explanation is an inexplicable decision in what is meant to be a “serious” piece. If nothing else, it causes an unnecessary distraction and feels like liberties are being taken with the piece and with the paying audience. Absolutely agree. Especially with regard to the casting of inexperienced, fresh out of college faces. For a musical of this size and reputation they should have some prestige about them and not be casting based on budget. I do wonder how far it will all go before numbers drop, but currently producers are happy to take these liberties as tickets remain to sell in abundance. It’s cyclical. A producer friend was talking to me about this with regards to panto. Most of a theatre’s house each show is booked many months in advance by audience members. Say a “badly received” show sells very well in 2018, but the audience don’t like it - they simply won’t come back next year. They’ll see something else. Then the show in 2019 is much better received critically, but your core audience haven’t booked. So your “better” show goes unseen. Essentially this is, in my opinion, how these long runners work. There isn’t a “downswing” until the prebooking market is exhausted for that cycle. Packed houses every night to see Peter Andre as Valjean, with half the cast forgetting their lines and only two lights working. (I exaggerate) A year or two later, that audience cycle plans their theatre. No way they’re seeing Les Mis again! Les Mis box office advance takes a huge dive and suddenly it’s at TKTS every day and offers galore. The producers realise they’ve messed up and reboot the show with a quality cast and new resident creatives. This brilliant new cast is paying for the previous years’ weakness. Steadily people start to rave about it again and people go back. Then that cast changes and the cycle repeats. I believe with long running musicals like LM, it’s a slow deterioration of standards over time which gets it to this point.
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Post by SageStageMgr on Oct 2, 2018 16:18:40 GMT
It's hard to argue the cast of 'artistic integrity' for a mega musical production where the producers openly consider it a 'machine'. Les Mis, like many others, have become victims of business. I hear what you’re saying. But I believe it DOES adversely effect the quality of the show having such a uniformly young (and inexperienced) cast, especially those elevated to lead roles written for older performers. Having a main character change skin colour half way through the show without explanation is an inexplicable decision in what is meant to be a “serious” piece. If nothing else, it causes an unnecessary distraction and feels like liberties are being taken with the piece and with the paying audience.
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Post by SageStageMgr on Oct 2, 2018 11:53:35 GMT
Les Miserables shouldn't really be an out of drama school job. It's top of the game. Especially on the main roles. I haven't seen Bradley Jaden as Javert but I agree he is far too young. Someone like Nic Greenshields on the tour is much more apt casting. This, a billion times. The show used to have the creme de la creme throughout the ensemble, never mind experienced leads. Nic Greenshields is a hugely underrated performer. Saw him as UNDERSTUDY Javert, he is about 6’3” with a booming baritone, stage presence and was old enough even back then for the role. And he was only the cover. He was also a brilliant Phantom circa 2010 too.
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Post by SageStageMgr on Oct 2, 2018 11:47:49 GMT
The problem being that she is fair skinned and blonde - a noticeably pale white lady. Cosette, introduced as a little girl, was a pale skinned white child with light hair. Cosette as an adult? A black lady. I find it an insult to the integrity of the piece, the intelligence of the audience and the legacy of the show that such a horribly misaimed piece of diverse casting has taken place. I know this has been discussed here before and I personally really really really don't think it matters, but even so calling it an 'insult to the integrity of the piece, the intelligence of the audience and the legacy of the show' and 'a horribly aimed piece of diverse casting' seems like a very strong reaction for what is, in my eyes, a totally normal and very common casting decision which Les Mis has been doing for years in productions around the world. Amara Okereke is a lovely performer who sings and acts the role very well as far as I've heard (I've not seen her in the show but friends have, and I saw her in the Sondheim Student Performer of the Year Awards). We're told very clearly a couple of times who characters are in relation to eachother, e.g. that Cosette is adopted by Val Jean, and Fantine is her mother, bio dad unknown. It's not hard to keep track, I don't think. As you know the show so well, even less so. Anyway, that's just my two cents. I've definitely heard a lot of people commenting on the youth of the cast recently too, and that's something I've also noticed. It's nice to have loads of grads in there, giving them a great job out of drama school and shaking up the production with new blood, but it'd be nice to have more of a range of ages. An ensemble comprised almost entirely of 21 year olds in very noticeable. I very much respect your opinions on this forum, but we’ll have to agree to disagree here. I think such blasé casting is endemic of the production’s woes and should never happen. And I really want to reiterate that my issue isn’t the race of the character, it is the ridiculousness of the change in appearance from being an 8 year old to an 18 year old. In Chitty, Gary Wilmot was regularly the father of two blonde children. No problem. The show is about a magical flying car. But Les Mis? As I say, I believe it hurts the integrity of the show.
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Post by SageStageMgr on Oct 2, 2018 3:40:43 GMT
Re: Leo, he was provisionally booked for the West End revival to replace Jon Jon, but it closed before he took over.
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Post by SageStageMgr on Oct 2, 2018 3:34:20 GMT
I saw this a few weeks ago.
I’ve written extensively about Les Mis throughout this thread, it’s a show very close to my heart and probably my favourite ever.
What I saw was the worst cast since around early 2005, when it was set to close. At that point they brought in an entire new cast and resident creative team to rescue it - and it worked, thanks to the likes of John Owen-Jones and Hans Peter Janssens. Two top quality stage performers with exceptional voices, experience and presence.
It has been going downhill for years now, but this was a new low.
Everyone is SO young. There was no finesse, no pacing - it was just nonstop rushing.
This show has been taking liberties for nearly a decade with younger and younger casts, faster shows with more cuts and everything in fast forward, higher ticket prices and smaller bands.
Frankly, after 100+ visits to Les Mis all around the world, this production really deserves to close, because the producers have lost the creative meaning of the piece and my respect.
I can’t see, short of a full blown 2005 massacre and reboot, any reason to see this production again.
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Post by SageStageMgr on Sept 20, 2018 21:38:23 GMT
Has anybody else been to see this? I decided to bite the bullet and see it in Coventry last night. I wasn't expecting great things based on the reviews here but as it's a musical I knew absolutely nothing about, I went in with as blank a slate as possible and I actually quite enjoyed it! Yes it's twee and quaint and dated and not massively memorable but I've seen far, far worse. I didn't leave at the interval and I usually do if I can't take any more. I found I was smiling and my feet were tapping along. The cast do a good job (Wendi Peters now apparently only does shows where she's in 10 minutes of each act). Averagely enjoyable harmless fluff I'd say 😀 Thank you!! Did the stage fit?
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Post by SageStageMgr on Sept 20, 2018 14:39:26 GMT
Has anybody else been to see this?
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Post by SageStageMgr on Sept 12, 2018 23:38:12 GMT
In fairness to Lady Fletcher she hasn't gone on one of her big rants about the stage door at the Haymarket yet. She always has a point and no actor should be harassed but she'll never be able to change the way that the silly public behave. Who are the large portion of the plebite market of teenage girls she panders to as a social media “influencer”... Otherwise she would be just another young West End lady.
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Post by SageStageMgr on Sept 12, 2018 22:45:18 GMT
**** me. There’s absolute tripe like this getting two bites of the cherry, and the likes of Next to Normal haven’t even played a WEEK in this country. I’ve been lucky enough to see it; but for anyone else this far deprived of that show, or the dozens of other quality shows which haven’t made it here for fear they won’t “connect”... well, enjoy your “9 to 5” again.
Absolutely damning indictment of the garbage we’re taking in right now.
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