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Post by distantcousin on Mar 9, 2020 13:11:13 GMT
Could Acorn Antiques ever return? Does it work without the original TV folk?
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Post by distantcousin on Mar 4, 2020 21:57:33 GMT
I think Stephen Ward could be reworked to put the focus more on Profumo and Keeler - as they are at the centre of the narrative. Ward - whilst interesting - is not a compelling central character and thus it was always going to be a difficult book choice to make work.
Especially in light of the recent Trial Of Christine Keeler series.
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Post by distantcousin on Mar 4, 2020 21:53:16 GMT
Kiss Of The Spiderwoman (why, why, why hasn't it been since in London since the 90's) I agree re Song and Dance and that Jamie Lloyd could do something very interesting with it.
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Post by distantcousin on Mar 2, 2020 21:10:50 GMT
Hamilton isn't exactly jolly and that's doing just fine. Oh yeah, I sorta pretend Hamilton doesn't exist, but I suppose that's the closest to ALW or Boubil and Schoenberg we have in the 21st century.
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Post by distantcousin on Mar 2, 2020 21:09:44 GMT
I think the problem is more that the present very American "dramatic" style doesn't really work here - see Dear Evan Hansen, which is meant to be dramatic, but seems to put many people off on this side of the pond. And what about Jagged Little Pill laden with every woke issue under the millennial sun? I'd also class Come From Away and Hadestown as rather dramatic and indeed very moving musicals - it's just that the music styles have changed and we don't get big operatic scores anymore. And the reason for that, I fear, is cost cutting. Much cheaper to have a small band of 8-10 people than the big orchestra needed for operatic scores.
I don't know anything about Hadestown, and Come From Away, from what I can tell, shies away from real dramatic heft or plot, and focuses more on being "all about the feels".
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Post by distantcousin on Mar 2, 2020 19:03:24 GMT
Is it me, or are increasingly the new musicals coming through usually light hearted, comedic or feel good affairs?
Except for the Les Mis and Phantom stalwarts, plus exciting revivals such as Evita, JCS and Follies, the fayre coming through from both sides of the pond seems very shy of delving into any kind of high stakes drama (e.g. with a death or two for good measure)
Personally I lament this, as I find the more dramatic musicals by far the most satisfying, but this trend seems well embedded now - a reflection of the troubled times we live in perhaps? Producers and writers think that mass audiences mainly want froth, fun and escapism?
I think the last dramatic NEW musical of the past 10 years i saw was "Fun Home"
Thoughts?
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Post by distantcousin on Feb 29, 2020 22:27:26 GMT
Nikolai Foster and Arlene Philips were promoting it on the Graham Norton Radio 2 Show today - very interesting and fun interview. Really looking forward to catchier an earthier, grittier version. Although I loved it when I saw it at the Dominion back in 94! www.bbc.co.uk/sounds/play/m000fyvw(sometime after the first hour)
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Post by distantcousin on Feb 28, 2020 22:31:31 GMT
Saw this in Northampton last night. Surprisingly pretty much a sell out. Are two TV faces enough to put bums on seats over the obscuritity of the show? It would seem yes, in this case! Thought the show got off to a flying start - definite shades of The Producers (around the show within a show style) but I found the Lieutenant's fangirling to be quite cloying after a while. The show was enjoyable and fairly punchy throughout Act 1, but I found Act 2 a chore - very few of the songs drove the story forward, and it felt like marking time - one thing I absolutely HATE in shows - it feels like an insult to the audience (to me anyway) I had lost interest by the end. It played very safe and cosy, and had none of that cynicism and subversive comedy/commentary that we know and love Kander and Ebb for.
Were they trying to do a pastiche/affectionate tribute to the simple musicals of the golden age?
Rebecca Lock and Carly Stenson were excellent. My friend and I personally found the Western show references irritating (hating all Westerns!) but that's just personal taste. Rather disappointing. Glad I didn't pay that much for it. A few good songs I would listen to again though. A couple of the melodies I'd pretty much heard in other guises though...
Oh, and La Manford can't really carry a leading role. He just doesn't have enough star power or technical ability. Nice enough guy though - very "everyman"
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Post by distantcousin on Feb 25, 2020 16:13:37 GMT
At points I felt like I was in The Truman Show. Everyone in the audience, and I do pretty much mean everyone, knew several groups of people sitting in various places around the theatre. The whole place was constantly waving in a way I have never seen. It was though the entire audience except me was on a huge bus trip. The man next to me took to banging his hand extremely enthusiastically on his arm rest and stamping his foot like he was at an actual knees up during the high tempo parts which I can imagine rattled the whole row as my seat was rocking. My experience was better than the one which led to my vow to never return. I was in the central section of row b in the dress circle and the seats were well raked, but not at all staggered so I had the head of a perfectly average height man in my way the entire performance. As I got a reduced price ticket it wasn’t too bad but if I had paid over £100 I would have been extremely unimpressed. This sounds very negative but overall I did enjoy it and the performances were excellent, but I wanted to really, really love it. Sounds like extreme luvviedom!!!!!!!
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Post by distantcousin on Feb 7, 2020 14:45:04 GMT
Gawd. It's a bit pricey for a short, one woman show!
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Post by distantcousin on Feb 6, 2020 14:12:52 GMT
They need to include "In All The Right Places" - the theme from the film!
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Post by distantcousin on Feb 5, 2020 13:44:40 GMT
Daniel Boys has joined the cast
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Post by distantcousin on Feb 5, 2020 13:43:37 GMT
I also nipped to Oxford to see this last night, mostly due to getting a £25 front row ticket from the Black Friday deal. Very good again, with the experienced soured only slightly by the two women sat next to me, who were clearly after a girls' night out experience. Lots of eating, talking to each other, humming, laughing every time fruit was mentioned, commenting on the nudity and at climatic moments, then a loud "I don't have a clue what's happening" during the final scene, followed by "next time I'm choosing the show" at the end. Clearly had no sense of history or idea about the imagery. I think the leads are very good here. Anita Harris does struggle vocally, but acts well. It's staged in a way where Kara as Sally is meant to be a struggling singer, but proves she has the voice at the end. Pretty full too. Overran by about 10 minutes (ending at 22:15) so I missed the coach back to London (luckily I could use the one thirty minutes later). I'll see it again later in the tour. Gawd. What can you do with such ingrates!?!?
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Post by distantcousin on Feb 5, 2020 13:39:32 GMT
Easily classed as a flop. Unfortunately i never got to see it.
Those who saw it, why was it so bad??
Aww I know it was a flop but I actually really enjoyed it. I wouldn't say I was a huge Spice Girls fan or anything, but I did like some of their music and I thought the show was sweet and quite funny. The performances of Sally Ann Triplett and Sally Dexter carried the show for me, as most of the cast were relative newbies. The story wasn't great to be fair, but it entertained me enough for me to go back and see it a second time before it closed. I never saw it because I don't like jukebox musicals generally (especially when a favourite artists music is shoehorned into a new story).
I had a friend that quite liked it. What was clear was that Jennifer Saunders did not know how to write a musical book. (and that's coming from a massive fan of hers)
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Post by distantcousin on Feb 4, 2020 22:13:38 GMT
Viva Forever would surely be classed as a flop from the last 10 years, despite the media splash and creatives involved?
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Post by distantcousin on Feb 4, 2020 22:12:43 GMT
Just found this on youtube!
Featuring an early appearance by Jonathan Pie (i.e. Tom Walker)!
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Post by distantcousin on Feb 3, 2020 13:28:40 GMT
WOW! I can only really echo the rest of the raves on this board. I went in with such low expectations and expected to laugh at the shambles of it all, but I did the complete opposite. This show was phenomenal!!! Went to the box office Tuesday around 7:15pm to see if I could get an under 25s ticket, I had seen online there was plenty of seats left. The lady at the box office was lovely and charged me for a grand circle seat, £20.50, and put me in stalls L19, right on the aisle. A perfect view of the stage and slap bang in the centre. It did take a while for me to warm to it, but after about 30 minutes I was hooked, I was watching in awe of how good it was! I think it works as the piece knows what it is, it does not take it self seriously, if it did it might have been a different story. The ensemble chatting to the audience pre-show, the 4th wall constantly being broken, among other things are what lets this show work, and IMO become a success. There has been a lot of money thrown at production, and it pays off. There really isn't an expense spared on nothing! Something I love to see! The cast were great, but no surprises Cassidy Janson was the standout! 'That's the way it is' was my favourite song in the show and she sang the crap out of it, was quite emotional actually. Not only this, but she was hilarious, closely followed by Melanie La Barrie as the Nurse. Miriam was in great voice as Juliet, this is a big sing, and if she's singing like that every night I can easily see how her voice my be tired or strained by the end of the week. It wouldn't be a bad idea having an alternate, but if she's holding up then that's a testament to her! The sets were great, and I loved hearing how the synth heavy pop music had been re-orchastrated to something quite string heavy which I enjoyed. You have to go in and take this how it is, don't expect some life-changing show, but just 2hr 30mins of pure joy from start to finish. This really ought to become the next Mamma Mia, but think it needs some more marketing and a big boost in sales. A few TV spots and some fresh posters with songs listed on might help. It deserves to have a long healthy run, but I think sales need to pick up a touch! Although it was Tuesday there were quite a few empty seats towards the back. I didn't see the grand circle, but I imagine that was quite quiet. With such a strong score, and some amazing performances in this wacky storyline it's impossible not to love every second of it! I can't wait to return! EDIT: The BO lady charged me for a grand circle seat but sat me in stalls L19! *Not* grand circle L19!! Are there any dramatic moments or is it all light and frothy?
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Post by distantcousin on Jan 28, 2020 23:23:31 GMT
The sequinned mask is utterly bizarre. Bears no relation to the mask in the story, is anachronistic and is incongruous with the themes of the show.
Who on earth signed that off??!
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Post by distantcousin on Jan 28, 2020 23:16:49 GMT
I really enjoyed Stephen Ward. Remember it fondly. I am way too young to remember the Profumo Affair. I learnt a bit about it when "Scandal" came out (but was too young to watch the film) and asked my Dad about it. He filled me in on the less salacious details. It's intrigued me ever since.
I thought the musical had a lot going for it. They clearly used Christine's autobiography as a reference, because some scenes in the show are almost identical to chapters of the book.
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Post by distantcousin on Jan 28, 2020 14:10:45 GMT
Isn't Rent a bit Generation X-ey?!
Does it appeal to anyone younger? Very much of it's time. And very overrated
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Post by distantcousin on Jan 27, 2020 10:38:56 GMT
Excited for this! I saw the original 3 times!
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Post by distantcousin on Jan 27, 2020 10:38:21 GMT
I'm intrigued. I love Spice Girls (but I don't know if their style has a place in musical theatre!) I find comedy very subjective though - what style of comedy? If it's very British then that's a good start (for me!) It’s basically the girls bickering about which of them was the most hard done by wife. There’s no plot, it’s a scripted concert not a musical, basically six performances giving each wife’s point of view with a bit of filler. I found it monotonous to be honest, despite it being so short. But I’m literally the only person in the world who didn’t like it that much so based on statistics alone the chances are that you’ll love it. 🙂 have you booked? Cheers for that insight. Really useful. Better than people just saying "it's fun", "it's great". "it's original"
Still very much on the fence, based on your description. There are MANY popular shows where I seemed to be the only one that didn't love it. (Book Of Mormon and Once spring to mind)
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Post by distantcousin on Jan 22, 2020 9:18:51 GMT
don’t jinx it- they’ve still yet to announce Killian’s replacement in Edinburgh! lol I quite would have loved to see Lee Mead. I have been to his concerts and he is wonderful and doesa heck of a Music of the Night. He has grown into a wonderful performer. I am tired to seeing Killian in all the time. That is why I stopped seeing him lol.
He's a bit of an "everyman" isn't he? And I imagine doesn't command the star billing/pay packet that other "turns" might....
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Post by distantcousin on Jan 22, 2020 9:15:59 GMT
Greg Castiglioni needs to start getting down the chippy if he’s going to convince us as Piangi! I’m assuming the big lad on the left with the shorts and hoodie is our Joseph Buquet (hold your tongue!)
I heard it said once, by some industry expert on another, that UK tours will generally allow younger cast members for a role than would usually pass selection in London's Glitzy West End.
I can theorise a few reasons for this, and can definitely think of a few examples where actors chosen for UK tours of things seemed rather young for their roles.
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Post by distantcousin on Jan 14, 2020 19:35:12 GMT
So I liked this more than I thought I would. Though from what I'd heard did go in expecting very little. It was definitely a "glad to have seen, wouldn't go back" experience for me though. The main thing that struck me that I wasn't expecting was really how depressing it was, especially mid second act, lots of emotion. Thing with most of the 'sad' American musicals is they tend to do misery in a slightly saccharine or very earnest way - whereas this actually was genuinely quite depressing. So I was glad they didn't shy away from that. Having read comments on here I did think I would find the treatment of what Evan did very distasteful - but actually I didn't. I saw someone very troubled who got carried away with a lie until it was too late. His redemption was also not as nailed home as I was expecting. Was just in the last scene after clearly some time had passed. Thought Sam Tutty was amazing. Truly talented, I hope he gets the Olivier. He must be exhausted doing that every night! And all the cast were incredibly strong. Stand by my views on the music. It isn't for me. I just find it awkward and to my taste there is no pleasing melody and not enough range. Too many minor chords. And not in an interesting Sondheim way, just rather generic. I really felt the same in Come From Away. Both shows for me made me feel emotion in spite of the music not because of it. Which is not what I really want in a musical. I didn't particularly dislike the music - and much of it works in context - but I would never reach for the CD. And I kind of felt the show wouldn't lose much if it was a play. That said I had two young girls next to me who were beside themselves with excitement at hearing the first bars of every song, so what do I know. Maybe it's a generation thing. But yes, a challenging evening that I would recommend. But not a repeat one for me. 3 stars (would have been 4 had there been more melody that got in to my head). Oh - why are there more understudies than actual cast? Are they expecting illness to sweep through at a moment's notice? I mean I know this can happen but never seen so many covers for such a small show!
I've suspected for a while that you and I have quite similar tastes. And based on what you say I think I'll steer clear. I think the show would simply annoy me!!
I cannot even get through the cast recording. It's SO American, and sonically bland. The over earnest, heart on sleeve performances. Very cloying.
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Post by distantcousin on Jan 12, 2020 10:04:55 GMT
^Some ticket prices were £40+ last night and those unfortunate enough to pay those silly prices were not getting vfm with the rather shoddy set.
Yeah, sadly we paid over £40. I didn't feel totally short changed though. The set was nice, if basic. The outfits were lovely, and I would say La Bennett is worth that money for the sheer star turn that she puts on
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Post by distantcousin on Jan 12, 2020 1:04:31 GMT
According to my friend, who came all the way from London to see it, Ria was off on Saturday night
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Post by distantcousin on Jan 11, 2020 18:53:20 GMT
First time seeing the Hope Mill Theatre and it is certainly a lovely venue I generally liked this show but it didn’t bowl me over. The strongest parts come from the cast overall giving a classy performance Tracie Bennett does what Tracie Bennett knows best, giving every ounce of energy into this role. Perhaps the best moment though was her and Harriet Thorpe passing barbs between each other during Bosom Buddies Otherwise the book itself is cliched and despite brief moments of poignancy and potential drama it skims along on the light hearted side. The story jumps time when it’s convenient and you think the musical is going somewhere with the Bueregard chap played marvellously by Tim Flavin but no soon are we in the second act then he is discarded. And moments like this and the Great Depression barely make an impact on Mame Lovely direction fitting this musical in the contained set they have but nothing too imaginative A good show but nothing more to me I agree. Very nice show, Lovely performances but far too lightweight.
The bit I couldn't buy was the fact that Beauregard was forgotten about after his demise. Just skimmed over.
The dialogue sparkled, but Herman's music has always generally washed over me. It lacks heft. I was quite bored in Act II and it frustrated me how she seemed to skim through life and everything turned out fine, with no real conflict
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Post by distantcousin on Jan 11, 2020 12:52:44 GMT
The Symphonic Suites are great - shame it was only a few though. Would have loved ones of Cats, JCS, Tell Me On A Sunday, Aspects too.
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Post by distantcousin on Jan 10, 2020 10:41:38 GMT
I keep thinking I should give them another try but nothing scheduled this last year or so has appealed. But I'll keep looking
You have to wonder what informs their programming decisions. Have the shows they've paid on in the past couple of years paid off in terms of bums on seats...…..
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