1,871 posts
|
Post by distantcousin on Jan 11, 2024 8:46:02 GMT
As I said earlier, Petula almost ruined my love for Sunset. The score was also transposed down a lot to "fit" her voice. When you compare that to Patti (who's upper register I don't really "like" - as in find it beautiful - but still find most exhilarating), it was almost ridiculous. Anyway, give me Betty or rather Elaine any time. Goosebumps the whole evening when she was on, and a definitive Norma for me. I wish I could have seen Elaine more times. She was my first, and I've only even seen "unofficial" footage since (apart from those clips on the South Bank Show) But she was electric!
|
|
1,871 posts
|
Post by distantcousin on Jan 10, 2024 20:49:49 GMT
For the 80s Doctor Who fans out there Janet (Tegan) Fielding and Sarah (Nyssa) Sutton at the Old Friends matinee today.
TOGETHER?! How lovely!!!
|
|
1,871 posts
|
Post by distantcousin on Jan 10, 2024 20:48:52 GMT
Jessie Ware at Sunset Boulevard this evening. Admittedly I only recognised her because I’ve been watching the Mamma Mia casting show!
One of my absolute favourite artists! So glad she saw it. Absolute queen!
|
|
1,871 posts
|
Post by distantcousin on Jan 10, 2024 20:47:56 GMT
Andrew Marr in the Stalls bar of The Gielgud for Old Friends last Friday.
|
|
1,871 posts
|
Post by distantcousin on Jan 10, 2024 13:57:32 GMT
My memories of Pet & Bickley was of all the grey being removed from the story; there was no way that this handsome young man would ever fancy an old lady whoever she was, so MUST just have been with her for the money & kudos. No ‘being touched by her folly’, just calculating how to offload her of some bucks. Yes. Pet was in her 60's by this point, and although Graham Bickley was almost 40 (the upper limit of most Joe's) the age difference was very "pronounced" :/
|
|
1,871 posts
|
Post by distantcousin on Jan 10, 2024 13:09:09 GMT
All I can say about Patti is: 1) Immensely talented but often miscast. The only thing worse than her Nellie Lovett or Joanne was her Norma Desmond. But all is forgiven thanks to her wondrous Mama Rose which was a knock-out. 2) Her bitterness and bad taste do her no favours. Her diatribes on ALW and EVITA are remarkably tasteless given that it was the composer and show that gave her a life-changing break. A small ounce of gratitude would go quite far. 3) Patti is correct that the closing version of SUNSET in London was boring. The only Norma worse that her own was Petula's who played the role like a dotty grandma - no tension whatsoever. Thanks for clarifying with your point 3. I'd never thought about this before, but assumed the closing Norma and Joe were "Pet" Clark and Graham Bickley. I booked tickets just after the closure was announced and saw them in it.
|
|
1,871 posts
|
Post by distantcousin on Jan 7, 2024 22:18:34 GMT
Amazing. I wish I’d seen them! I assumed the ripple of applause was for Hannah’s appearance behind the curtain but perhaps more likely for the Brodericks. I also meant to comment on how well behaved the audience were last night - thankfully. Having read musicbox’s post in the Bad Behaviour thread earlier this week I feared the worst, but I don’t think I heard one whispered comment or sweet wrapper opened or anything. A miracle! Hannah Waddingham bloody turned up in this too? Give it a rest love!
Got her sights on the role?!
|
|
1,871 posts
|
Post by distantcousin on Jan 7, 2024 21:45:49 GMT
|
|
1,871 posts
|
Post by distantcousin on Jan 7, 2024 11:37:05 GMT
I would bet that not only does this production have the full backing of the creative team, they are on their knees begging Jamie Lloyd and Nicole S for more. This production is the biggest hit ALW has had in years and actually appeals to the general/youthful public (ALW tried and failed with 'Bad Cindrella', Phantom has closed on Broadway too now). It's making the show, and ALW, relevant again. Sir Andrew Lloyd Webber and his creative team do not need to beg on their knees to become relevant again. Apart from the many ALW productions still running around world in 2023 we had concert versions and new productions as well as the announcements of a Sarah Brightman led sunset in Australia and the starlight express opening this year has extended already with strong sales . This board has reported the London Phantom is having another resurgence and full houses. School of rock was a massive broadway and west end success five years back, ALW will continue to run successfully his shows long into the future with or without Mr Lloyd. Yes this sunset may have attracted some new people to ALW show but it was also run for most of the season dynamically pricing seats down and until mid December was the "show of the year" which you could get the best seats less than half price for on the day of the show. It's great so many board members enjoyed the show and supported it seeing it multiple times but trying to make out that Sir ALW desperately needs jl for recognition is a p*ss take even JL wouldn't put in this show.
Where to start with this post....
I'll have to come back to this, but firstly ALW is not a "Sir" and hasn't been for over 25 years.
|
|
1,871 posts
|
Post by distantcousin on Jan 7, 2024 10:26:24 GMT
Glad everyone had a good night, but I honestly cannot BEAR mid show standing ovations. I find them utterly ghastly - like something out of a Britain's Got Talent live audience.
It would have really detracted from my enjoyment, so I'm glad I wasn't there!!
|
|
1,871 posts
|
Post by distantcousin on Jan 6, 2024 14:28:05 GMT
|
|
1,871 posts
|
Post by distantcousin on Jan 6, 2024 14:14:43 GMT
Performances cancelled today and both Martha Kirby and her understudy are indisposed
|
|
1,871 posts
|
Post by distantcousin on Jan 6, 2024 12:55:42 GMT
It’s interesting how you describe it as ‘very discreetly exits’. Isn’t she directed to kind of throw up her arms and walk off the stage in protest? That’s how I saw it. CLOSING TONIGHT! Oh, there was so much to watch, I completely missed her exit! One minute there, next gone!
|
|
1,871 posts
|
Post by distantcousin on Jan 6, 2024 0:45:38 GMT
Anyone in tonight and know if Clare Burt is back? I'm happy to report she was! The only thing I noticed that was different from my October visit was Bernadette not doing the Broadway Baby dancing. She very discreetly exited stage right. The only thing I didn't like about being second to last row of the stalls is that they leave 2 rows of house lights on. Very distracting! I'm Still Here got the biggest reception of the night along with Losing My Mind, Send in the Clowns and Everything's Coming Up Roses.
|
|
1,871 posts
|
Post by distantcousin on Jan 5, 2024 11:20:18 GMT
Trying to get a reduced price ticket for tonight or tomorrow - all the offers seem to have dried up! Plenty at full price though!!!!!! Your best bet is trying to get a rush ticket tomorrow as I don’t think there will be anymore offers for the rest of the week. Or get a £30 in the Grand circle and upgrade for £20/30 once you’re there (if there are better seats available). Thank you. Got a rush ticket - took 10 minutes though - glad I didn't give up!
|
|
1,871 posts
|
Post by distantcousin on Jan 5, 2024 11:13:28 GMT
|
|
1,871 posts
|
Post by distantcousin on Jan 5, 2024 10:08:24 GMT
I wish they would completely reinvent Blood Brothers. A brilliant score and story cheapened by hopelessly dated production design, musical direction and cheap production values. God yes. Fantastic score. But production wise, the descent since the early days at The Albery has been quite depressing. Hopelessly dated and cheap are the right words. (What's more depressing is despite this it seems to remain a money making machine for BKL so there's not much incentive to do something with it). Re-invent it and stick Sheridan in it I say. They'd pay £89.50 for that! I actually have an entire vision of how they should reimagine it!! And Sheridan would fit perfectly into that, come to think of it.
|
|
1,871 posts
|
Post by distantcousin on Jan 5, 2024 9:42:45 GMT
I hope that it is the impetus for others to find other ways of livening up old musicals and giving them a relevant fresh lick of paint (not for twenty copycat prods…Les Mis with no set…Wicked with no flying and no green, recreated on an etch a sketch). It really is the creative blueprint for moving forward both creatively & financially. Remove the expectations & shackles and find a different way to ‘stage’ these things. (No John Doyle/CRH, not you 🤣) I honestly couldn't agree more with this. Also not saying apply the no set/barefoot/white light model to everything - but just do something radically different and creative! Both this and Miss Saigon in Sheffield have made me so excited at the possibility of reinvention of musicals in totally different ways. I've also thought (for the very first time really) that I'd be indifferent to Phantom closing in London as it would give the opportunity to do something totally different with it. It's almost suffocated by it's own success. Anyway - my hunch is Starlight is gonna be radically different to what's gone before, so guess that's the next one..... We'll see how it goes! I wish they would completely reinvent Blood Brothers. A brilliant score and story cheapened by hopelessly dated production design, musical direction and cheap production values.
|
|
1,871 posts
|
Post by distantcousin on Jan 5, 2024 9:40:24 GMT
I have to admit, I was shocked by the difference in how much to mount in London ($2.5 million) as opposed to Broadway ($17 million) If that's accurate, no wonder ALW was saying what he was about the costs on Broadway when Phantom closed Blame the unions! (among other things!)
|
|
1,871 posts
|
Post by distantcousin on Jan 4, 2024 18:25:24 GMT
I love old school audiences that don't over emote like they're watching the Britain's Got Talent final.
|
|
1,871 posts
|
Post by distantcousin on Jan 4, 2024 18:18:11 GMT
Tom is going with this- him and NS only. Will you let Grace and David know they need to cancel their flights?
LOL!!!!!!!!!!!!
|
|
1,871 posts
|
Post by distantcousin on Jan 4, 2024 14:19:12 GMT
Wow - that's incredible! Consider my words eaten. Quite a coup - have Broadway Equity ever allowed 3 out of 4 British leads to transfer before? Amazing news; though still wish was extending here instead..... Well, Glenn took 2 British and 1 Swedish lead over with her in 2017....
|
|
1,871 posts
|
Post by distantcousin on Jan 4, 2024 14:17:01 GMT
Trying to get a reduced price ticket for tonight or tomorrow - all the offers seem to have dried up! Plenty at full price though!!!!!! Your best bet is trying to get a rush ticket tomorrow as I don’t think there will be anymore offers for the rest of the week. Or get a £30 in the Grand circle and upgrade for £20/30 once you’re there (if there are better seats available). Today Tix is the only place to get Rush, right? (I missed out the past two days)
|
|
1,871 posts
|
Post by distantcousin on Jan 4, 2024 14:16:24 GMT
Trying to get a reduced price ticket for tonight or tomorrow - all the offers seem to have dried up! Plenty at full price though!!!!!! Your best bet is trying to get a rush ticket tomorrow as I don’t think there will be anymore offers for the rest of the week. Or get a £30 in the Grand circle and upgrade for £20/30 once you’re there (if there are better seats available). thanks! Last ditch attempt - I should have been more organised last week! He who hesitates....
|
|
1,871 posts
|
Post by distantcousin on Jan 4, 2024 13:38:10 GMT
There was a £54 single ticket for row DD (for today's matinee) about an hour ago...(on TodayTix)
|
|
1,871 posts
|
Post by distantcousin on Jan 4, 2024 12:42:47 GMT
Trying to get a reduced price ticket for tonight or tomorrow - all the offers seem to have dried up!
Plenty at full price though!!!!!!
|
|
1,871 posts
|
Post by distantcousin on Jan 3, 2024 10:28:04 GMT
What a nightmare but good that you didn't allow it to ruin your experience of the show. It is quite apparent that, post-covid, audience entitlement/brattish behaviour is off the charts. I have noticed, particularly at musicals, that nearly half the audience (or more) can't fathom watching a show without a drink in their hand. This has elevated from just bringing in a glass of wine to now bringing in the whole bottle. I find that boorish and tasteless. Whatever happened to ordering your drinks so you can just enjoy them at the interval? It would be easy to blame theatregoers but the blame lies with theatre owners who rely on heavy bar receipts. It is no wonder shows like DIRTY DANCING keep getting rebooked - it doesn't sell a ton of tickets but the bar receipts are huge. Anyway, back to your experience - good that the FOH were receptive. I am pretty sure that none of them are being paid enough to deal with the crap they are served. I have a friend who manages FOH at a theatre and the amount of abuse (especially homophobic abuse) from audience members, especially latecomers who are held back, is far worse and more frequent in the past 2 years. My bugbear is eating during performances. This is completely normalised now. Crunching, noisy wrappers. People can't seem to stop stuffing their cakeholes anymore. I find it incredibly vulgar.
|
|
1,871 posts
|
Post by distantcousin on Jan 3, 2024 9:06:43 GMT
I went to see Sunset Boulevard at the Savoy for what will be the last time before it closes tonight, and honestly it felt like a bus load of horrible people who shouldn't venture anywhere near a theatre got a group discount. I had a brilliant seat in the stalls, but shortly after I sat down an older couple sat behind me in the next row. From the minute the man sat down he was moaning about the seat, the theatre and being openly rude and abrasive to people who were very politely asking to get to their seat, as he was on the aisle. I was also on the aisle of the row in front, so when someone asked to get past me I of course stood up and walked to the side to let them past, when I heard a really loud EXCUSE ME in my ear. I looked behind and it was the man going berserk at me, claiming I had knocked over his drink that was next to his seat. I looked to the floor and noticed that his drink was very much still in tact and about 2 metres away from me, if anything closer to the people behind him. I genuinely didn't know what to say and didn't want to be rude, so asked 'Sorry, is there anything else at my feet?' and he again very rudely shouted 'YES I THINK YOU CAN SEE - WATCH IT!'. This whole exchange was so pointless and didn't need to happen in any way whatsoever, as nothing had been knocked over. To add hypocrisy to the mix, the man then extended his leg out towards my seat, resting it right next to me and eventually knocking over my bottle of water during ACT 1 - I definitely feel that it was an act of defiance. There was a technical problem that delayed the start of the show by around 10 minutes tonight, and honestly the amount of moaning that this man did when he was waiting drained my soul. He just kept huffing and puffing, complaining about the seat and saying how uncomfortable he was at having to be in it for 10 minutes more than he had to - Why bother coming to the show at all? Just before the show started he said 'If this doesn't start soon I'm leaving', and honestly I wish he had. To add to this lovely experience, a family of four sat in the row in front of me and chatted throughout the entire first act. The lady next to me took matters into her own hands and told them to be quiet, but they didn't take any notice and continued in a whispered tone - Again, why bother coming? I paid just under £100 for my ticket, so decided I wasn't having it and spoke to a FOH at the start of the interval who said they'd have a word and were very helpful. Just after this I walked over to the bar and witnessed another older man screaming the face off of the FOH at the bar, I was genuinely shocked at the amount of terrible behaviour I was seeing in one night! She called the manager over before serving me and the man continued to argue, saying if service has to be this slow then he has a right to shout at anyone he wants to. There were literally about 5 people in the queue including me, so again a totally pointless argument. I ended up having a mutual rant with the FOH at the bar about how terrible the audience was and felt slightly better, but she was physically shaken. When I got back to my seat though I found the older man behind me in the middle of complaining to a FOH about me, saying I was 'constantly' knocking over his things. He was also speaking to the FOH in such a rude and unnecessary way, and she just looked at me and then back to him and said 'Sir perhaps if you hold onto your things and then move them to your feet when the show starts and everyone is seated, then maybe this won't happen again' - I have no idea who this lady is, but she's my new hero! The man then just gave us both a look of distain and mumbled 'disgraceful' under his breath. To top all of this loveliness off, I waited until almost the end of the interval to go back to my seat as I had hoped that FOH will have chatted to the people in front before I got back, However, they came just as I sat back down and the family really didn't take it well. The dad stood up and turned to everyone behind him, saying 'Right, who's been complaining about me?' and was told to sit down. The wife then said 'I'm sorry but can I just say we were only chatting during the quiet bits where nothing good was happening', to which the FOH of course said they shouldn't be disrespectful enough to chat during any part, but they were so riled and entitled about it. The man then just kept constantly turning his head back and looking at the people behind him, as if someone was going to just jump up and shout 'IT WAS ME!'. They then continued to chat throughout act 2. The only redeeming funny moment was when Tom stripped towards the end of the show, and the mum turned to her seemingly teenage son and said 'Those are like the pants you wear' - He looked like he wanted the floor to swallow him whole! Overall I don't think I've ever seen so much equally bad behaviour in one night at the theatre. The show was brilliant, but I was happy to leave when it was over. I hate "people", I really do! Such ghastliness! What has happened to society?! The comment about Tom's pants me me giggle though. I'm so sorry your experience of this brilliant show was tarnished by this.
|
|
1,871 posts
|
Post by distantcousin on Jan 3, 2024 8:53:17 GMT
I've seen the show for the first time tonight, and all I can say is that I really enjoyed it. Very technical too, which is something you wouldn't expect from a show without a set. The only remark I have is that when you don't show the reporters and tv crew entering the mansion at the end, it's really difficult to see how the camera's make Norma think she's 'ready for her closeup'. This made the ending really confusing for my daughter who never saw the original. I agree. Removing the police and reporters from the final scene is a "choice" and doesn't serve the storytelling. As well as cutting the voiceover "as dawn breaks over the murder house..." I wonder if there is rather too much assumed knowledge of context - stripping back so much of the "scaffold" of the story.
|
|
1,871 posts
|
Post by distantcousin on Jan 1, 2024 12:40:09 GMT
I went to see the matinee of this today - my last show of 2023. I have to say that I nearly did not book this when it was announced. The casting just did not inspire me, and I felt that Scherzinger was all wrong for Norma - no proven acting chops, the wrong age etc, and I love SUNSET too much. Well, I am happy to be proven wrong! Starting with Nicole, she is perfect for this production’s interpretation of Norma. She is mad from the start, giving a very physical performance, rolling around the stage, convulsing and undulating in any number of body contortions. The sexual attraction between her and Joe is played up to the max and works. The singing, whilst not to my taste, is also done well enough. Her sustained ‘Home’ during ‘As If We Never Said Goodbye’ stretches the boundaries of good taste, and musicality for me, but I can understand dramatically why this was a choice. The audience clearly loved it though. She got a smattering of standing ovations from people in the Stalls after that song. It is the other members of the cast that really impress though. Tom Francis as Joe is the standout, giving a stellar performance. I also really enjoyed Grace Hodgett Young as Betty. She gave a lovely performance that really benefitted from the close glance of the camera at certain moments. David Thaxton gave a slightly different take on Max that was very welcome. It is the staging and direction that really makes this production of SUNSET however. It is just incredible! There are so many moments that just make this pop! The Car Chase, with the title sequence, and stylised, contemporary movement from the company was a fantastic start. The Entr’acte is nicely staged, with various ‘Easter Eggs’ and nods to past productions (starting with the watching of the original film, Nicole’s turban, the chimp costume, ‘Mad About the Boy’ on the mirror, the gun, the cut-out of Andrew Lloyd-Webber). The Title Song is an amazing technical feat. The sound and video come across perfectly, and are in sync throughout. I am not sure how they managed this from the Theatre, all the way down the Strand, and then back into the Theatre, but it is absolutely to be commended. The Hog-Eye moment in ‘As If We Never Said Goodbye’ still got me (just like in the ENO staging). The lights, the wind machine, the smoke, the swell of the orchestra! I had chills and tears in my eyes! Just beautiful! Finally, Joe’s Death and Norma ‘s Mad Scene are absolutely breathtaking! The best version of these final moments that I have ever seen. The lighting (or lack of it in places), the blood! Again, I felt a little emotional seeing this - the first time that this has happened at this particular part of SUNSET. Nicole’s mad scene was truly unhinged. The lighting throughout is a real hallmark of the production. The use of Young Norma, floating in and out was a masterstroke. I also liked how certain characters lingered or walked across the stage when they were clearly in the back of the mind of the characters (such as Norma staying on stage throughout ‘Too Much In Love to Care’ and during most of Joe and Betty’s interactions, or Artie walking across the stage when Betty can clearly thinking of him). It was just refreshing to see a show I know well given such a radical that kept you guessing and on the edge of your seat. It was like seeing a completely new show. The line readings were also so different (with more modern anachronisms in places) that this too was surprising. There were cuts to the material, and changes to lyrics, but what was there originally was not missed. I actually prefer it without ‘The Lady’s Paying’. Are there some cuts in ‘Too Much In Love to Care’? This was clearly not a traditional SUNSET. It was as if Nicole in 2023 was seeing parallels between Norma’s life and her own (she a slightly faded pop singer), and was reenacting Norma’s story in her own head imagining how this would play out now (hence the modern style), giving a very meta interpretation of the material. However, that being said, it very much honoured the source material with the silent movie stylings and delivery, as well as the very obvious reliance on the film medium, as well as leaning heavily into the camp. My only slight quibble would be that, if I did not already know the material, and was seeing SUNSET for the first time, would I have been able to keep up with what was going on? The lack of props and scenery could potentially cause confusion to the story-telling. Oh, and the orchestra sounded gorgeous, helped by wonderful sound design! This should definitely be winning awards for direction, lighting and sound design. This is my first Jamie Lloyd production, but will definitely not be my last. I went with 4 stars, as I had minor issues with it, but still an absolutely incredible production, that I have been thinking about ever since I saw it this afternoon. I wish I could see it again!
Your review/reflections echo mine pretty much exactly!
|
|