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Post by viserys on Apr 18, 2024 14:55:06 GMT
Nancy's song isn't a lesson to live by, it's tragic Sure, I know that, but personally I just don't want to see female characters anymore whose lives are entirely defined by men and/or whose only point in the show is to orbit around men. Much like the dreadful Miss Saigon gained a lot by casting a female Engineer and thereby redress the power balance somewhat, I think it may be a lot of fun to cast a female Fagin to offset the drippy Nancy. Anyway, don't mind me, I have very strong feelings about these issues On a selfish level I'm glad that this is another show I can happy give a miss, freeing me up for things I'd rather see or save a lot of money on shortening my London trips!
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Post by viserys on Apr 18, 2024 13:32:25 GMT
I guess Oliver is similar to Annie or Joseph in that many people have been part of am dram/school productions, so it was their intro to musical theatre and a new big revival every 20 years or so is the right time interval to haul the next generation into the theatre.
Personally I couldn't care less, it's even mildly amusing to me that Carousel keeps getting trashed for supposedly promoting domestic violence while nobody seems to have a problem with a character like Nancy, whose only raison d'etre in the show seems to be belt out a drippy song how she'll stick by her evil violent boyfriend, who beats her.
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Post by viserys on Apr 14, 2024 17:53:31 GMT
Love that for once being abroad is an advantage as I can comfortably watch on TV in Germany. No real surprises for me so far.
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Post by viserys on Apr 13, 2024 7:26:58 GMT
Lyn Paul played the lead in Blood Brothers for a long time, too, no?
Julie Yammamee was also in Priscilla, IIRC.
Not a cast I would personally book for, but definitely names. It just sort of reflects my own feelings that we haven't really had big "diva names" in the West End for a longer while with people like Imelda Staunton (who I'd still class more a TV/movie actress than a musical theatre diva) hogging classical diva roles like Mama Rose, Sally and now Dolly, or American divas like Stephanie J Block being brought over for Kiss Me Kate (and soon Vanessa Williams in Rrada), while potential proper West End divas like Hannah Waddingham seem to be lost to television and her own shows. Maybe it's also a reflection of the fact that we've mainly had shows that don't put anyone in particular center stage (like Six) or the deluge of "small quirky shows" that are all well and nice, but also don't lend themselves to propelling someone to the A-League.
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Post by viserys on Apr 11, 2024 10:18:29 GMT
Actually she's the main draw for me, too. She was out the night I went to see that steaming pile of seagull poo Jamie Lloyd cooked up and while I had a ticket for the most recent Macbeth, I ended up not going. So third time lucky.
But I thought "Oscar winner Rami Malek of Bohemian Rhapsody fame" would have been a bigger draw as such.
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Post by viserys on Apr 11, 2024 9:26:13 GMT
me, too - got exactly what I wanted.
Guess Rami Malek isn't that much of a draw, despite winning an Oscar. Nothing compared to the fuss around Tom Spider-Man Holland for sure!
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Post by viserys on Apr 8, 2024 18:46:16 GMT
Do we know exactly where in Germany? I have friends just outside of Cologne. In Hildesheim at the Theater für Niedersachsen - they've been doing great work with musicals for some time now! Bit far for a day trip from Cologne (I'm in Cologne, too!) but it's worth going for a weekend. We combined the last trip to Hildesheim with a visit to nearby Hanover and the Herrenhäuser Gärten, the gardens of the (no longer existant) castle that spawned the Hanoverians who took over the English throne. Mind that it will run in repertory from September, so before you all plan something, wait for the exact dates when it will be on. www.tfn-online.de/
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Post by viserys on Apr 8, 2024 16:29:06 GMT
If you want any help/questions answers, hmu! I'm definitely going.
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Post by viserys on Apr 8, 2024 13:43:35 GMT
ceebee - you (and maybe others) might be interested to hear that Groundhog Day will have a German production in autumn, even with English surtitles. Not quite as far to fly as Australia
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Post by viserys on Apr 6, 2024 18:15:30 GMT
I wish they would announce the date a longer while ahead, I keep missing it because I have to plan my London trips a few months ahead. I'm already booked for the Broadway Flea Market in September, because THEY announce the date a long time ahead.
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Post by viserys on Apr 4, 2024 16:17:26 GMT
Can we assume this will be on sale elsewhere, too? I really don't feel like paying 9€ shipping to continental Europe for a 15€ CD-set.
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Post by viserys on Mar 30, 2024 8:54:26 GMT
Foreign traveller here, too, mostly focused on musicals. I really mourn the loss of in-person day seats as they were something you could actively control by being there early enough. And being a tourist with nothing to do, it was great for me, get to the theatre around 8-9am (depending on a show's popularity), wait in line with a coffee and a good book, get a cheap ticket, walk off happily.
Today's options are all a game of luck - getting tickets in online rush/lottery is by no means guaranteed, dynamic pricing can go any which way and you never know what seats are left. It's great for locals who can just keep checking the booking website until a great seat at a dynamic discount pops up for a show they want to see and head out - but not for anyone outside London.
And as others have mentioned, hotel prices have become insane as well, so between that and being forced to book theatre tickets at full price ahead if I really want to see something, my London trips have become so much more expensive, that I struggle to justify them.
An additional factor for me is that when I spend half a day traveling from the continent to get to London, I want to see something big and spectacular. Small "quirky" shows with a cast of four and one basic stage set certainly have their own merits, but are just not worth travelling for. I might squish one of those in if I have a free slot and the subject interests me (which has become rarer and rarer, too).
Funny enough this has steered me more towards Broadway of all places. While lots of people moan (rightly) about the (regular) prices on Broadway, it's much easier for out-of-towners to get discounted tickets to all but the most hyped shows - most do in-person rush at the box office and TKTS still does 40-50% off for lots of shows on the day of. And right now Broadway has tons of interesting new big shows with half a dozen more already in the pipeline. And while hotel prices in Manhattan used to feel insane, London is now almost on par with them, so the only "obstacle" that remains is the higher flight price to get across the Atlantic.
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Post by viserys on Mar 28, 2024 10:04:58 GMT
I'm with d'James here. A FEW changes and re-workings are certainly okay, but there's a limit to that, I think. People return to existing shows (when they are being revived) to hear songs they loved before and want to love again.
Would you go and see Evita if songs like "Don't cry for me Argentina" and "Oh What a Circus" are missing?
At least when ALW sort of re-launched the show in 1992, he called it The New Starlight Express.
Now... people have been buying tickets under the assumption they're seeing something that resembles the show they remember and love.
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Post by viserys on Mar 27, 2024 14:13:09 GMT
I am still boggling at new names like "Oil Slick" Where are you seeing these? Cast members have been sharing some of the roles they are playing on their individual Instagram pages, one gal shared that she's covering Greaseball, Belle and ... Slick Oil (not Oil Slick, though that hardly makes it better). Some other new names are Grey Wolf, Orange Flash and Blue Horizon, which I assume are new names for the engines? And one guy plays Tassita the Quiet Car.
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Post by viserys on Mar 27, 2024 11:59:08 GMT
I am still boggling at new names like "Oil Slick"
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Post by viserys on Mar 27, 2024 10:13:30 GMT
A woman as Greaseball, lack of Poppa, and a suspiciously short runtime? Pass. Hard pass. Poppa is Momma now But yea, Greaseball seems the weirdest role of all to genderswap, since he's very much another clone of ALW's faible for Elvis (like the Pharaoh in Joseph and the Rum Tum Tugger in Cats). I suppose they think that a guy all the girls fawn and swoon over doesn't wash in today's climate, but what do I know. I HOPE there is a concept behind all of this, but after all the earlier hamfisted changes... who knows.
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Post by viserys on Mar 27, 2024 9:46:09 GMT
says it's the professional debut for most of them, at least the leads (which I clicked on).
Wonder why only the leads are named with roles but not all the minor roles like Buffy/Belle, Ashley/Carrie (whatever the latest names are), C.B./Caboose, Dustin, the Rockies...
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Post by viserys on Mar 22, 2024 17:06:18 GMT
I wonder if a London return will happen if it's a success on Broadway, Very likely I'd say, both Groundhog Day and Hadestown came back (eventually) and Tammy Faye has even stronger Brit ties with Elton John and Katie Brayben. However the Palace is a huge barn to fill and Elton alone doesn't sell tickets (Lestat, anyone?), so I wonder how much pulling power it has.
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Post by viserys on Mar 8, 2024 14:58:35 GMT
Bonnie Tyler?
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Post by viserys on Mar 7, 2024 9:53:03 GMT
It was a JOKE… remember those? Steve is clearly a very discerning and passionate theatregoer. Exactly that's why I thought it was very strange you commented like you did. Given how many toxic comments you leave across various threads, it was not clear to me that this one was meant to be a joke, especially with the ROFL emojis that were added to it. To me, it's the winking emoji that conveys irony/a joke. Anyway, I apologize for misreading this particular situation, which doesn't change the fact that the general tone of the forum has become pretty toxic more recently. As I have no intention of seeing MJ, I'm outta this thread now
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Post by viserys on Mar 7, 2024 7:37:02 GMT
I think any credibility went out the window when saying “I loved Thriller live” 🤣🤣 It's this kind of toxic post that makes me want to engage less and less with this board, let alone post my thoughts and review. God beware anyone who might veer off the general consensus that Stephen Sondheim Is God, ALW is the Anti-Christ and that jukebox musicals are generally terrible rubbish? Can we just accept that tastes are different to begin with and that it is absolutely possible to both enjoy a highbrow piece from time to time AND some switch-your-brain-off fun show?
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Post by viserys on Mar 5, 2024 8:54:25 GMT
The only Disney musical that was properly aimed at an adult audience was "Aida" which was also the one that wasn't based on a movie.
Movies that were based on adult-themed materials like Hunchback were watered down to the point of tedium to make them palatable to the typical Disney audience. Hercules definitely falls under the typical family fare though, snappy dialogues, a goofy hero and sassy heroine, funny sidekicks and a pantomime baddie. If it gets kids interested in Greek mythology, all the better, but even Lion King has a more grown-up feel about it than this.
Sadly Stage Entertainment has gone to ridiculous length to scare off the audience. Gotta love the new price categories of "Premium Front Row", "Premium Plus" and "Premium" before regular Category 1 begins somewhere around Row 20 and is still way above 100 Euro. I'll sit back and wait for the Dutch version, that will a) have fairer prices to begin with and b) far more generous discounts in due time.
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Post by viserys on Mar 1, 2024 6:23:57 GMT
Wait - is that for real?? yes, I got the loyalty card when I went Visit 6 gets you a badge, Visit 12 the signed poster. While I'm not sure it's an amazing incentive (those who see a show so often will likely also be frequenting the stage door to get stuff signed there) I love the fact that some productions are starting to reward fans. I hope somewhere down the line we might see "see us 10 times, get the 11th visit for free" offer or some genuinely special thing like a Meet & Greet.
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Post by viserys on Feb 26, 2024 12:41:52 GMT
Orpheus - Simon Oskarsson, Tiago Dhondt Bamberger Eurydice - Madeline Charlemagne, Miriam Nyarko, Beth Hinton-Lever Hades - Christopher Short, Waylon Jacobs Persephone - Lauren Azania, Ryesha Higgs Hermes - Waylon Jacobs, Allie Daniel, Winny Herbert
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Post by viserys on Feb 26, 2024 11:38:00 GMT
If this is now the official pinned introduction thread, maybe it should be renamed, so that not only new members feel like they should say hello, but all the oldies can introduce themselves too?
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Post by viserys on Feb 23, 2024 10:04:19 GMT
Yea, but Bochum keeps being updated as well, most recently for the 30th anniversary following the TOP workshops, which is an update that hasn't been properly staged in the UK so far. So this is still an update for the UK, but it could also be an update of this update...
Considering the amount of times this show has been fiddled with, I don't think it's wrong to wonder what exactly will arrive at Wembley. An "update of an update" might also mean that they have realized how shockingly misguided some updates were and have reversed them, such as the godawful new version of the overture or the supposedly feminist but ultimately regressive and sexist change from Poppa to Momma.
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Post by viserys on Feb 22, 2024 13:28:02 GMT
The WOS review was a fun read, too. Sounded like a Five-Star-Review, except that she was miffed by the ending... which she could/should have seen coming.
I have no idea what the ES's writer's problem with the Wall was or why it bothered him so much in a show that's overall so very meta.
Ah, well, happy overall with the reception.
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Post by viserys on Feb 19, 2024 19:41:29 GMT
Simon Oskarsson. I saw him on Saturday evening after Donal was on for the matinee. He was okay. I heard from two people independently that Donal was struggling during the week and cracked more than once on the lalalalaas, whereas Simon didn't crack and did a good job, especially considering he can't have had that much rehearsal time yet. I think they might want to take Donal out for a few days longer so he's fully rested for opening night.
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Post by viserys on Feb 18, 2024 14:54:22 GMT
Hi everyone, I've joined the forum recently so I thought to make a first for what used to be my favourite musical, Hadestown. When it first opened at the NT, I unfortunately missed it, but had the privilege to see it twice on Broadway, with the original cast. I was completely in love. The set, the actors, the story and the music were perfection. I was very excited to see West End production, and attended a performance on 13/02 (I was sat in the stalls). Unfortunately, it wasn't to my liking at all. In fact, I couldn't wait for it to finish. My main problem were the actors playing Orpheus and Eurydice as they were quite underwhelming. Orpheus couldn't hit the high notes which were signature for the role and were present throughout the performance, and would fall flat on many other parts. I really wish they adjusted the songs to fit his voice, which was noticebly powerful in songs like "Wait For Me". I found Eurydice shrilling, with her portrayel lacking calm and, as another forum member (Afriley) said, sweetness in her voice. That was noticeable in several songs such as "Flowers", "Hey Little Songbird" and even "Doubt Comes In". Unfortunately I won't be seeing this production again, which is a shame because I intended to book it several more times. I rate it a 2/5 Hi Matthew, very happy to read this, as I am very much in the same boat and it's somehow good to know that I'm not alone. I saw Hadestown at the National Theatre, fell in love with it and went to New York three times to see it on Broadway (well, I saw other shows as well, but HT was the main thing which I saw a total of five times across these trips) I also felt that the London production is let down by its performers, although for me Eurydice was the smallest problem, I quite liked Grace's portrayal! That said, while Eva Noblezada has a great voice (and a better voice than Grace) I never really liked her whiny crybaby approach to the part, I so much preferred Solea Pfeiffer when she took over and Grace plays her in a similar "tough lonely wanderer" vein. As for Orpheus, I wonder if Dónal Finn has already shot his voice with a role outside his range? I've heard from two independent sources that he was pretty terrible and he's been off twice - Friday and Saturday evening so far. I saw the understudy Simon Oskarsson on Saturday afternoon and he was decent enough, as I never expected him to match my memories of Reeve Carney and his insane high notes and I was also aware that it was only his second performance and he probably hadn't had a chance to rehearse all that much yet. My main problems were Persephone and Hades though. Where one hurt or angry look was enough for Amber Gray and Jewelle Blackman to convey a wealth of emotion, Gloria Onitri tended to ridiculous overacting at times and Zachary James was no match vocally or acting-wise for any of the three Hades performers I was fortunate enough to see in New York. It was easy for Melanie La Barrie to walk away with this show, but that said, I am not sure what the reasoning behind her casting was. Sure they changed from male to female on Broadway, but I had always thought this was more a one-off stunt casting for Lillias White and more importantly, to give legends like her and before her André de Shields a chance to perform on Broadway again when good roles are SO rare for people that age. I'd rather seen a similarly aged legend get given the role of Hermes in London. Anyway, I am booked once more for July already and I do hope that Dónal Finn will turn up then, but beyond that I think I will also rather cherish my memories of the amazing people I was fortunate enough to see in New York.
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Post by viserys on Feb 17, 2024 6:49:40 GMT
Afraid I'm in the meh camp for this. I was ready to just sideline all the political stuff and generational debate and just enjoy the music, but was disappointed by a) the music-blather ratio (far too much talking) and b) that most songs were shortened, chopped by more blather and so on.
The whole thing had something "Gen Z school project" about it, the way most of the cast sat in the stadium seats in the background waiting their turn to sing and they had made sure to give as many people a chance to shine as possible. I never got a proper 80s vibe from the characters' looks either. Props to Collette Guitart for braving that awful mullet though.
I give it three stars for the great cast, even if many of them are wasted and the whole thing being mildly entertaining, but it certainly didn't bowl me over and did leave me with a sour feeling about Gen Z constantly finding fault with everything the oldies do, having weaponized "being offended" about everything, while not doing much at all that just tries to help.
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