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Post by distantcousin on Mar 4, 2024 13:27:30 GMT
Tina has been struggling to shift tickets for years now, bar a few spikes in interest. It's long been the show I had pinned to close next, and yet it continues to limp on despite the obviously poor sales. I won't believe it's closing until the moment the Aldwych confirms it! Surprising that there wasn't renewed interest after Tina died last year
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Post by distantcousin on Mar 1, 2024 10:29:15 GMT
I so wish I'd got my act together/bit the bullet and saw Madeleine Brewer and Callum SH!
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Post by distantcousin on Feb 28, 2024 14:49:52 GMT
For me, absolutely everything is in service of the story. Unlike La Navete Bete company there are no things going wrong 'accidentally on purpose', the show isn't about 'will the cast make it through ' it's 'will the characters '. The first wink at the audience is held til the end of the first song of Act 2. I wouldn't say it's farcical exactly: that tends to be one situation that gradually tangles (boringly) then unwinds (entertainingly). This switches styles. But physical theatre, elements of clowning, elements of naturalistic character reflection. It is priced beyond 'what the hell I'll just give it a go'. Thanks. The more I hear about it, the less it is appealing.
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Post by distantcousin on Feb 28, 2024 13:08:40 GMT
I've booked my tickets. The promo is convincing me more and more. Famous woman on the verge of a mental breakdown, you say? TAKE MY MONEY!! Just hope the music isn't typically Wainwright, and is he's writing something a bit more 'musical theatre' for this.
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Post by distantcousin on Feb 28, 2024 12:45:28 GMT
I met someone recently who told me this was a wonderful musical (although I don't think they were someone who regularly sees musicals) Before I consider it, would anyone mind telling what what the style and tone of the show is? Any other musicals it bears stylistic similarities too? thanks 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. It’s funny and has some highlights including that love letter song and the cross wired scene. And the cast gives they’re all, just like any cast of this type of show. If you, like me, enjoy shows like that I’d say yes see it. I personally wouldn’t pay the west end prices. Maybe wait for the uk tour I haven't seen any of those shows. Does it have dramatic moments, or does it tend to stay light or whimsy in tone? Would you say the comedy is in the "farce" style (or a modern spin on?)
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Post by distantcousin on Feb 28, 2024 12:05:17 GMT
I met someone recently who told me this was a wonderful musical (although I don't think they were someone who regularly sees musicals)
Before I consider it, would anyone mind telling what what the style and tone of the show is? Any other musicals it bears stylistic similarities too?
thanks
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Post by distantcousin on Feb 22, 2024 10:48:33 GMT
The only thing that's holding me off booking this is the prices and Rufus Wainwright. Can't stand his voice or his music, so depends how much the score sounds like his typical "fayre".
The rest of it, I'm sold on. Ticket prices in the West End are too expensive to take punts on now, sorry!
I want guaranteed enjoyment, and I suspect a lot of people are in a similar position/mindset to me.
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Post by distantcousin on Feb 21, 2024 20:40:24 GMT
I can see the appeal of programmes, but I just end up with too much clutter. Back in the days when I used to promote events, we always had programmes (although with nowhere near the production values of today). Lots of people would buy them, you could have signed copies for prizes, and they would make a big different towards whether an event was profitable or not. They are largely worthless afterwards, unfortunately. I do sometimes buy collections of old programmes purely for interest value and they're fascinating to look through, especially for shows I attended and didn't buy a programme first time around. I still have nowhere really to put them!
agree that they are mostly worthless. When I've glanced on ebay, most sell for less than original face value.
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Post by distantcousin on Feb 21, 2024 20:37:02 GMT
I used to love them, but I've gone off them. Ones that just have the credits, the same old headshots and credits, then a bunch of adverts are lazy in the extreme.
I want production shots, articles on the show/production itself/directors notes, or I'm just not wasting my money anymore.
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Post by distantcousin on Feb 20, 2024 13:07:08 GMT
No intention of seeing this but I must say, I’ve never quite understood how someone with so many serious allegations levelled at them has maintained this untouchable status, even after death. There will always be people who bury their heads in the sand but I can’t think of any other star whose fanbase would ignore the accusations en masse. The documentary interview with his victims was harrowing. Maybe one day they will get the respect and closure they deserve, having been robbed of any chance for justice. America particularly hates having their idols tarnished.
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Post by distantcousin on Feb 20, 2024 13:06:16 GMT
Not sure when referring to any group of people as crazy just because they have a differing opinion to others was acceptable? Maybe try saying those that agree with my opinion might show up and support that theory, rather than referring to me or anyone else as "cray"? Let's do better. No, I’m talking about the cray-zee fans. (And it’s much quicker to say it that way!) Oh, I've encountered them on youtube and instagram. They will tear down any criticism with forensic level comeback.
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Post by distantcousin on Feb 19, 2024 13:13:18 GMT
This old warhorse!
Loved it to death in the 90's and 00's but the production is dreadfully passé now
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Post by distantcousin on Feb 14, 2024 8:25:52 GMT
I’m being seriously triggered by the spelling in the thread title! Yes, I realised that after and I can't change it!
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Post by distantcousin on Feb 12, 2024 12:55:18 GMT
Saw this in Edinburgh last night. First the good - the vocal performances were excellent. I liked the set with the giant cross being used as, well, everything. I thought the crucifixion was really well done, and not too traumatic for either audience or actor. Again, Judas' death had been cleverly thought about in terms of how to stage it. Now the rest: What is this? Is it a concert with costumes and movement, in the same ilk as Six? If so, it feels outdated. Is it a gig musical? In which case Middle Child do it better, IMO. I think I place much of the blame for being distinctly underwhelmed on the text here - there seemed to be zero attempt at story-telling, and 'stuff you' if you don't know who all the supporting characters are. Whilst I was raised going to church every single Sunday, and so do know the story, and who the characters are, it cannot be denied that we are becoming a more secular society, and I wonder if the younger generations, who probably haven't been frog-marched to church every week, understand the nuances here? Or even the broad sweep of which parts of the final weeks of Jesus' life are being referenced? I know that the narrative of the UK is still that we're a Christian country, and that every school has a nativity play every Christmas, etc, but I'm not sure the Easter story gets as much attention? All of this makes me think that this piece has a limited future lifespan unless a book is added. Being sung all the way through means that the story-telling has to be conveyed very strongly, and I just didn't feel like it was here. I've seen a filmed version of this, where they focused on what I'll describe as 'the mob factor', and imposed an armed police force cracking down on crowds etc. That really seemed to work, to build the atmosphere of Jesus being seen as a dangerous radical, and someone who the authorities felt needed to be stopped at any cost. Here, it just felt like a bloke singing some songs, then some other people singing some songs, and then some 'contempo-wafting' movement. There wasn't any tension - it just felt like a series of things happening one after another, with no real motivation? Perhaps it was the fact that it was the final performance in Edinburgh, and the weather has been vile all week up here, and the cast now have to relocate to Leicester (a long drive), but there was just a distinct lack of energy to the whole thing. The whole thing also felt weirdly sanitised? Like, those final weeks, there's supposed to be tension building on the streets, local leaders who feel under pressure from both their subjects, and Rome, and a sense of desperation from the local population who just want someone to come along and solve their problems and make their lives better, and get rid of the uncaring politicians who rule their lives whilst knowing nothing about the reality of how they are living. There are surely enough parallels there with the current situation in the UK, for something interesting to have been done with this? But it just felt like they'd shoved a set on a stage and dashed through the whole thing. Talking about dashing through the whole thing - the band seemed to rarely stop, and I felt there were a few moments where what action there was could have benefited from pausing, just for a few seconds. As it was, it felt like there was little variety in mood - again, it felt like a rush to the finish. Mary's song felt like it came from nowhere, narratively speaking. The other thing I will say is that, obviously, they have had to shove an interval in, to appease the powers that be at the various places this is going to. But I think this decision is what leads to much of my ambivalence about this. Going all the way through without a break would allow for that sense of tension and claustrophobia to build, and for everything to just feel more intense. I will say that I can see how this would have worked in the RPOAT, with the intimacy, and some of the lighting choices towards the end - but here, in the barn that is the Edinburgh Playhouse, it did not. Sorry if you loved it, and it seems like it worked at the OAT and the Barbican. But not all of us live in London, and as much as I try to go and see stuff there, I can't always find the time or the money to do so. I think I'd like to see a filmed version on NT Live/at Home, so I could see the 'original' revival version, and maybe see what has everyone else raving about it. You've picked up on the biggest problem with JCS, which I've been banging on about since I first saw it in the 90's. It assumes prior knowledge (i guess it was created at a time when every British child had some form of religious studies at school, at the very least) Like you say, there is no exposition or scene setting.
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Post by distantcousin on Feb 11, 2024 21:28:27 GMT
It's been a while since the last time you started a thread on trigger warnings, I was worried
WHAT?!
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Post by distantcousin on Feb 11, 2024 20:42:30 GMT
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Post by distantcousin on Feb 9, 2024 22:42:34 GMT
It always seemed like some massive vanity project (to get it to Broadway)
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Post by distantcousin on Jan 31, 2024 15:25:02 GMT
Jöback was very worrying when he performed in the three/four Phantoms “Music of the Night” medley at the end of the anniversary concert, flambuoyant mannerisms to say the least… He’d just been announced as the new Phantom at this point. He was pitchy, nasal and the least likely Phantom imaginable and fans were expecting a car crash when he went into the show. After a lot of work in rehearsals, I saw him a few weeks into his run, and he was absolutely fine. Not great, not terrible - just a completely by the numbers performance. He had perfected his “Phantom voice”, which sounded very affected and false but was passable as another generic Phantom. The broad gestures and, frankly, very camp mannerisms had been rehearsed out of him and he gave a very controlled, modest and stoic performance. It felt rigid, walk here butchly to this mark, sing this note deeply for the exact number of beats as written, do this specific gesture on his beat etc. Many were expecting a car crash due to his obvious miscasting, but he was so well drilled he hid his weaknesses and ended up just another mediocre Phantom. As a pure tenor, his voice is much better to Valjean, I think he’ll be fine. But again, I have to ask - what about poor Chris Jacobsen? Did he run over Cameron’s dog or something?! I love that you've brought this up! Not just me that noticed this in Mr Joback!!
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Post by distantcousin on Jan 30, 2024 10:11:29 GMT
They're going for a "grand, old Hollywood" aesthetic, aren't they (despite the talk of a reimagining - they need to make it as different from Jamie Lloyd's as possible, and this production lands slap bang between his two stagings)
Looks like they've cast most of the principals older - to fit with La Brightman's vintage.
Tim Draxl looks amazing for 42 though - about 10 years younger - his instagram is very "alluring"!
I love the return to a proper, older Max. Played by a veteran actor like Robert Grubb. It makes the most sense to me. This role has been cast completely age inappropriate (in terms of major productions) for years. I don't remember there being a authentically older Max since Dave Willets in the 2008-09 London revival.
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Post by distantcousin on Jan 30, 2024 10:07:06 GMT
Tim's Instagram account is always entertaining. Not sure I would cast him opposite Brightman but could be an interesting dynamic. He's good pals with Courtney Act who could easily understudy Norma! Yes, I've just discovered it. Very enjoyable. hehe. And he looks INCREDIBLY good for 42!! Courtney? haha, I could see her more playing the Jamie Lloyd version - the black slip would look divine!
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Post by distantcousin on Jan 25, 2024 20:14:48 GMT
Just the very suggestion of it is bringing me out in hives...
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Post by distantcousin on Jan 22, 2024 14:25:30 GMT
Why do you consider this show to be particularly archaic? There are plenty of other West End long runners/revivals that could be deemed as ever more archaic? E.g. Guys & Dolls I think that theres a big difference between classic/old fashioned; big hearted golden age kind of stuff and something that whilst relatively modern uses archaic ideas and stereotypes to attempt to make people laugh in a more modern setting. It is culturally outdated. Interesting take. Thanks
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Post by distantcousin on Jan 22, 2024 12:59:51 GMT
…and he hasn’t been a name for about ten years. They’d do well to tempt Johannes or Rylan, but this archaic show doesn’t need reviving again so soon. Why do you consider this show to be particularly archaic? There are plenty of other West End long runners/revivals that could be deemed as ever more archaic? E.g. Guys & Dolls
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Post by distantcousin on Jan 20, 2024 0:05:40 GMT
I have not seen this production so am not in a position to comment but your stand and have to keep moving it sounds like Here Lies Love at The National a couple of years back. ! 9 years ago!
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Post by distantcousin on Jan 19, 2024 23:18:17 GMT
5 star production of a 2 star show.
Thought the physical production, direction and choreography were outstanding. Incredibly exciting.
But the piece itself? What a load of hokey old rubbish. I zoned out after the first hour. Totally not my kind of musical. It literally had nothing to say
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Post by distantcousin on Jan 19, 2024 8:30:18 GMT
There must be a demand for it. And I bet they're selling like hotcakes! I reckon we've got this experience hanging around for quite some time yet. Someone told me that they only have another 3 years lease on the land and then it's being developed into social housing. Don't know how true that is but I think at the beginning they said it would be here for 5 years and then move on.
I understood that the situation had progressed in that respect, and (I guess due to the runaway success) that the venue had no deadline to work to anymore.
You know what local authorities are like - change planning rules all the time to suit themselves and are generally answerable to no one.
Perhaps Svana, Ludwig and co bunged the council top brass a proverbial "brown envelope"....
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Post by distantcousin on Jan 18, 2024 18:23:31 GMT
Dance Floor tickets now £105!! Gawd I paid £80 for them back in 2021! (prior to the show opening)
Get that coin in, ABBA...
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Post by distantcousin on Jan 18, 2024 9:12:16 GMT
Jessie Buckley was a guest on a recent episode of the Table Manners with Jessie and Lennie Ware podcast, and she talked a few minutes about her experience doing Cabaret. She said it was the hardest thing she’s ever done, and seems like she may have struggled with calibrating herself to be able to perform the role the way she wanted during her run, which speaks to her absences. I would say that had to have informed her decision not to open the show in NY. Did Jessie Ware slate her for not doing 8 shows a week like she did the contestants on the Mamma Mia casting thing? 😂 Camp!
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Post by distantcousin on Jan 16, 2024 10:54:33 GMT
They are good friends still. Even better Fielding put a photo on her twitter later that night of them meeting up for dinner with Peter Davison. This warms my heart. They were my first Doctor Who team/crew
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Post by distantcousin on Jan 12, 2024 9:23:08 GMT
I found this pretty thrilling, in parts anyways. Personally I think the comparisons to Jamie Lloyd's Sunset Blvd a little unfair - a fairer comparison would be with Lloyd's Evita in which case I think Foster wins. Buenos Aires was stunningly done and Dan Partridge's Magaldi is certainly the hunkiest I've ever seen. His voice was as muscular as his body which was a lovely surprise. I loved Art of the Possible and Peron's Latest Flame but was a little cold about You Must Love Me becoming a duet. Don't Cry For Me was unforgettable but Rainbow High was rather wonderful. Rainbow Tour and Rolling was fun as well, so it's not all amazing but I didn't think Sunset was either. I saw the understudy run on Sunday and would've liked to see Martha Kirby but must say Chumisa was great as Eva too. Gary Milner seemed too old and the chemistry between him and Evita didn't quite hit and I thought Tyrone Huntley's Che a little too charismatic and lacking the cynicism that the role requires.
Gary Milner is the right kind of age. There was a significant age gap between Peron and Eva. He was in his 50's by the time he met her. In more recent productions he is often cast younger.
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