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Post by ali973 on Nov 27, 2019 21:00:04 GMT
I saw it in New York. Same show, different production. I think it's a much bigger hit in London at the Old Vic vs the Old Vic's production on Broadway.
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Post by ali973 on Nov 27, 2019 10:23:52 GMT
It doesn't look like it.
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Post by ali973 on Nov 27, 2019 10:20:49 GMT
Does anyone know when the full soundtrack comes out?
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Post by ali973 on Nov 27, 2019 9:20:43 GMT
I just saw this production on Broadway last night and couldn't stop crying 12 minutes in DESPITE the accents! LOL BTW...I got major Ghost vibes. It has similar visual aesthetics and the haunting music arrangements by the same team. I wouldn't mind seeing it again, especially since it doesn't look like it's doing too well.
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Post by ali973 on Nov 22, 2019 3:11:51 GMT
no no no no..NO! I feel like I'm being punished. Is the internet trolling me with this news? Brits can't be left alone to do a classic American musical comedy. Why does London insist on making Imelda and Sharidan Smith their musical theatre queens? Jenna Russell..again, no.
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Post by ali973 on Nov 15, 2019 15:37:56 GMT
I like it. I'm getting "Already Home" (Wizard of Oz) vibes, esp in the beginning.
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Post by ali973 on Nov 14, 2019 20:26:08 GMT
I've seen a lot since I moved to NY but never felt compelled to post anything until now. So I saw The Wrong Man at the MCC. I was mainly drawn to it because of the creative team.
The Wrong Man is a musical concept album/song cycle forced to become a stage musical. It has a narrative but no plot (think Six), so it doesn't quite deliver a deep emotional punch that you'd experience in a more conventional theatre. By the end, it gets lost and can't resolve or create a clear conclusion.
But it's a musical and visual feast and gives Joshua Henry the opportunity to unleash his entire arsenal. MCC is a vibey venue that works very well with the show's modern/brutally minimalist aesthetic. There are major Hamilton and DEH vibes: over-choreographed athletic lyrical dancing, "chair"-oegraphy (benches and chairs flying, shifting and moving in slow-mo and all sorts of speed at all times), gorgeous melodic pop-rock score with great vocal arrangements, overamplified power vocals, crisp sound design and multiple 11 o'clock numbers.
Hard to really say what it actually is and what could be next for it, but I just thought it was perfectly executed. Might see it again before it closes.
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Post by ali973 on Nov 14, 2019 16:56:13 GMT
@burlybearr Really hard to tell. I think Brits are more susceptible to this outrageous camp, and I think London musical goers are very forgiving towards musicals so long as the music is good. As far as musicals are concerned with London musical goers, songs/music comes first and everything else second. Broadway theatergoers tend to be different, I think. The visual style of this show really reminds me Head Over Heals (which I've never seen) - but &Juliet seems to have a better overall camp design and obviously music that is more contemporary and has a much wider reach and appeal.
I can't wait for the cast recording, and I can't wait to see it!
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Post by ali973 on Nov 14, 2019 11:14:27 GMT
I've downloaded all the pre-releases so far. I can't wait for the full release. This show is giving me so much life.
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Post by ali973 on Nov 3, 2019 14:33:07 GMT
I saw it on Friday night as a comp. Their grosses are really really low. Though it looked full, I know they are comping and ticketing like crazy. There are already two things booked after it. I saw Tootsie in Chicago during tryouts. Politically, I think it's really off quite tone-deaf. But if you're willing to be complicit and park that aside, it has its literal laugh out loud funny moments. As I was watching it, it occurred to me that its musical within a musical - "Juliet's Nurse" - IS actually &Juliet! LOL
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Post by ali973 on Oct 25, 2019 1:19:59 GMT
Well it looks like they are re-writing the book. I agree that the music fantastic (I saw it in 2000? 2001?) and didn't pay attention to the book because it IS quite a beautiful show. The design was great and the singing is even better. But I recently saw an audience capture and was listening to the dialogue and picked up on how pedestrian it was.
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Post by ali973 on Oct 18, 2019 8:53:34 GMT
It's no where on any digital platforms though.
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Post by ali973 on Oct 7, 2019 0:09:31 GMT
Correct - but I also think that's what made London Bobbi quite uninteresting, and certainly not to be believed as a New Yorker. Rosalie had a homely quality to her, that I think the producers would want to avoid. I'm not pro or against her performance. There's been a lot of talk of Rosalie has kids so maybe she didn't want to move, or the producers wanted to cut on expenses. None of this could be true. This could have been a game-changer for her career. She's not the first mother who transferred a show, and producers, if interested in someone, could make a lot of arrangements that would make her transfer smooth. Baby sitters, bringing her kids to work..all of this would have been easily made available for her. They simply wanted to go with someone else.
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Post by ali973 on Oct 6, 2019 20:30:33 GMT
London Bobbie ie Rosalie Craig was somewhat lost and even passive, at times. I think Katrina Lenk will bring in a Bobbie with a point of view, a sexual and sexually active woman who can be both dangerous, hot and threatening to all these men she's dating. Rosalie Craig's Bobbie was aloof, and I didn't quite get why all of these lovers and friends were so consumed with her.
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Post by ali973 on Oct 3, 2019 14:46:26 GMT
Do we think this is a costume or just a studio shoot? I know that the caption says as Bobbi..but would they have costumes six months in advance?
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Post by ali973 on Sept 29, 2019 13:34:20 GMT
It's a superb play this, written by Pam Gems but with the lead actress singing all Piaf's famous songs. It is a tour de force for the lead actress. I saw the original production with Jane Lapotaire and subsequently with Elaine Paige, and Elena Roger at the Donmar. A favourite piece for me really. It's a gritty play though and pulls no punches with language, sex and drug taking. Tempted to take a trip to Nottingham. I just produced Piaf in June, also in an 'immersive' setting where the entire theatre was converted into a Parisian bar. I disagree though, the text written by Pam Gems is quite pedestrian and bad. The play only works because Piaf's story is quite interesting and because of all the drug abuse and trauma you see on stage.
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Post by ali973 on Sept 26, 2019 11:48:04 GMT
Saw it in SF as well and looking forward to seeing it again.
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Post by ali973 on Sept 6, 2019 12:07:15 GMT
Ok, relax. Yes, they were absolutely fine.
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Post by ali973 on Aug 30, 2019 12:33:51 GMT
In the audience or in the choir? She's one of those stars from the '90s mega-musical era. Did wonderful work in Chess, Les Mis, and Miss Saigon, as you pointed out. I saw her in a concert a few years ago in London. She still sounded like she was 16. She almost comes across as an English Liz Callaway.
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Post by ali973 on Aug 30, 2019 11:50:03 GMT
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Post by ali973 on Aug 29, 2019 23:28:17 GMT
Is this real though or is it some fanfic nonsense?
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Post by ali973 on Aug 24, 2019 17:38:41 GMT
Sure - but that didn't bring anything new to the table beside the fact that it was actor musician. Everyone dressed like they were in '90s cocktail business attire. This production - which will March into Broadway proclaiming its limited run - has a lot more going on for it and can create a lot more publicity than the previous one (which was over ten years ago).
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Post by ali973 on Aug 24, 2019 13:56:22 GMT
I felt that several of the design choices were based around RC’s very specific ‘look’ too. Interesting. Can you elaborate?
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Post by ali973 on Aug 23, 2019 16:46:25 GMT
It's probably corny and tacky AF, but I'm willing to give it a try. I love how they are promoting this clip as a zitprobe, when it's clearly a music video that is meant to look like a sitzprobe.
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Post by ali973 on Aug 23, 2019 15:42:40 GMT
Yes. But not actor/musician. I'd love to see a revival.
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Post by ali973 on Aug 23, 2019 15:41:58 GMT
I'm getting Everybody's Talking About Jamie vibes.
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Post by ali973 on Aug 23, 2019 15:40:52 GMT
I don't see why they NEED a new Bobbi. Whoever they get, whether a Jessie or a Katrina, isn't going to significantly shift tickets. LuPone barely shifts tickets, as we've seen with War Paint.
They don't need a star. It will be a limited run to begin with. This is New York and New Yorkers love Sondheim. It's the first major revival of Company. It's a revisal that had a lot of buzz going on already. It will be easy for them to create new buzz.
I'm not attached to Rosie or anything, but this is her part. She created it from scratch and from the moment this production began, you can tell that it was hers and she WANTED it. I doubt you'd be able to bring a new actress to the role who'd be able to own it the way Rosie does.
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Post by ali973 on Aug 23, 2019 1:04:32 GMT
Half time this evening. It's largely good but an underpowered band and a few odd directorial decisions. Fab choreography. Pyrotechnics are overdone and unnecessary in my view. I like the modern approach though. Half time? HALF TIME?! This is not football, sir! INTERMISSION, please! Half time indeed.
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Post by ali973 on Aug 16, 2019 13:09:22 GMT
These rumors of Bobbi on BWW are bogus. Someone decided that they are really really not interested in Rosalie Craig, and it all started from there. It's all baseless.
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Post by ali973 on Aug 14, 2019 13:45:22 GMT
^ No shortage of ripped supporting-actor types on Broadway.
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