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Evita
Aug 22, 2017 13:15:50 GMT
Post by wickedgrin on Aug 22, 2017 13:15:50 GMT
Horse. Flogging. Dead. A.
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Post by wickedgrin on Aug 22, 2017 0:24:46 GMT
It won't be very high wire in the Menier - mind you it wasn't high at Chichester either.
Crawford was sensational doing this at the London Palladium where the wire stretched across the Palladium proscenium. It was a real thrill him crossing the wire while singing to Jenny Lind in one of the boxes - the wire leading to her box - I've just realised what I have written!!!! LOL. Must lay off the G&T!! He never fell off when I saw the show but if he did he always had another go. LOL!! Plus his amazing rope slide down to the stage from the gods!
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Post by wickedgrin on Aug 21, 2017 19:21:52 GMT
What is strange here the Menier has lined up the show, without naming who is going to star and with someone that needs to be a 'quad' threat, you would have thought they would have lined their star up at the same time. They must have someone lined up even if they have not announced?
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Post by wickedgrin on Aug 21, 2017 14:08:15 GMT
I would agree with a very long holiday, however, she has always been very focused and career driven, at the expense of her private life.
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Post by wickedgrin on Aug 21, 2017 14:01:59 GMT
Oh yes a bit of gender blind casting and no interval - it's all the rage!!!
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Post by wickedgrin on Aug 21, 2017 11:40:00 GMT
It will be interesting to see who they cast in the title role - the success of the whole show depends on this. The recent Chichester revival did not transfer into town as Cameron would have liked due to the casting of Christopher Fitzgerald who was very uncharismatic! Cameron also tinkered with the book to make it work better without success.
The original production only worked due to the charisma of Jim Dale on Broadway and Michael Crawford in London who both gave show stopping performances and the spectacle disguised the shows flaws - the book! Stripping the show back will only expose these.
As others have said - not an ideal or obvious choice for a Menier production - they must be looking to transfer like Funny Girl and this will all depend on the casting of the lead. I can't think of anyone who could do this quite frankly let alone anyone who is prepared to commit the time to (potentially) a year in the WE on top of a Menier run.
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Post by wickedgrin on Aug 20, 2017 22:28:05 GMT
It will be interesting to see what Sheridan does next. I doubt she will want to undertake another big role in a musical for a while. She would have been fabulous as Bridget Jones in the proposed musical, but that seems to have fallen through. I predict more TV roles, or perhaps a limited run of a play.
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Post by wickedgrin on Aug 19, 2017 15:48:16 GMT
Hes got a great voice, a great actor and a great body, what more could you want! And seemed destined to perform under railway arches....mind you haven't we all Ryan?
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Post by wickedgrin on Aug 17, 2017 19:00:09 GMT
I saw this show last night. What suddenly came to me was - if this show was staged now for the first time would it be banned?? I've seen JCS so many times in so many productions but society changes, terrorism changes us. To see a bloody Jesus being crucified to rock music (gold glitter aside) for the first time shocked me. I almooooost thought it was offensive or crass (and I'm an atheist!). It's become a global hit very much because of its time and I know it was controversial then. But last night the authenticity and raw direction of the piece really opened that up. Oh there were HUGE protests outside the Palace Theatre when it originally opened. Every night! Times change thank goodness.
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Post by wickedgrin on Aug 17, 2017 13:35:13 GMT
The top two levels were closed when I went too, but the tables, stalls and dress seemed full (when the seating plan wasn't) so they must upgrade to ensure the front is full for Audra to play to. This really is unmissable.
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Evita
Aug 17, 2017 7:31:19 GMT
Post by wickedgrin on Aug 17, 2017 7:31:19 GMT
It is heavily discounted at TKTS. Top price stalls down from £65 to £30.50 53%off.
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Post by wickedgrin on Aug 16, 2017 23:40:01 GMT
Tickets for this are expensive for a fringe venue
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Post by wickedgrin on Aug 16, 2017 8:53:45 GMT
Tour "postponed".
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Post by wickedgrin on Aug 16, 2017 8:37:37 GMT
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Post by wickedgrin on Aug 16, 2017 1:30:41 GMT
Way too old now, to do stage door Yes me too - it would look very creepy! However, when I am out and about in London I often see actors either in the audience or around theatres and always say "hi" rather than just staring. Without exception all have been delightful to talk to and happy to chat. Most recently (last week) I saw the gorgeous Marc Elliott outside the Gielgud Theatre after seeing the Ferryman. He seemed delighted I actually knew his real name rather than his character name from EastEnders or Holby City and even more delighted when I said I had enjoyed his performances in City Of Angels and Urinetown etc. Absolutely delightful and dishy - although very short and slight for those of you interested in size!
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Post by wickedgrin on Aug 16, 2017 1:01:16 GMT
Yes, I am VERY tempted to go again, but alas money and time are finite!
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Post by wickedgrin on Aug 16, 2017 0:58:24 GMT
How are we feeling about the chances of it actually coming back to London? Slim I would have thought. It did well at the Old Vic AFTER the reviews came out but it was a very limited run and clearly it has not been the success they had hoped for on Broadway. I would say it would be risky bringing back to London. But hey, what do I know!
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Post by wickedgrin on Aug 15, 2017 17:40:35 GMT
I think a lot of musicals almost from the get go becomes machines. Once rehearsals, previews, press nights etc. are out of the way most casts in large musicals find themselves with 10 months to go on their contracts and they pitch up to "work". That work involves replicating the show night after night for 8 shows a week. It is just part of the job. Technically, of course, the show is a machine with all the scenery and lighting controlled by computer with buttons being pressed.
To an audience, probably seeing the show for the first time, it is hugely entertaining - perhaps celebrating a special occasion and are out to enjoy themselves, but the cast and crew it simply is another day at the office!
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Post by wickedgrin on Aug 15, 2017 14:49:58 GMT
Further to this point, did shows like Les Mis, Phantom, Wicked, Cats,... become massive global successes because of their sheer entertainment quality or did marketing play a big part in their success? These shows are more than just very successful theatre shows. They have transcended the regular theatre community and made their way into mainstream pop culture. Very good question. I don't know the answer! Cam Mack produced 3 out of the 4 you mentioned so he might be fundamental to the success of 3 of them. I would say, probably, it is a combination of a successful artistic production AND clever marketing - who can forget the eyes of the cat for Cats, the mask for Phantom etc. Iconic images in themselves!
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Post by wickedgrin on Aug 15, 2017 14:38:44 GMT
Is that a failing on the part of the actors then? If it's obvious they're just going through the motions, hitting the spots, following cues, then they've failed in making their performance genuine and convincing. No, I wouldn't have said so. They are very tightly directed and have to follow the template of what has gone before. The original actor "created" the role under the supervision of the original creative team and that becomes the definitive characterisation for that particular production. Inevitably the original cast member give something of themselves into the characterisation which may not sit as comfortably with a new actor. It's just the job they have to do.
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Post by wickedgrin on Aug 15, 2017 12:44:13 GMT
Excellent thread Burly Bear! I remarked on this in Les Mis thread when I saw it again a couple of years ago at the Queens Theatre and the word I used was animatronic! I felt like the show was on autopilot and once the button was pressed it was off - no pause for breath or even applause - the show had to be down by 10.17 or whatever.
I do understand the need for quality control on long running shows - if actors were left to their own devices after a few weeks/months the show would be unrecognisable and the creatives having set the production expect it to be reproduced as they envisioned it. The paying public expect a certain standard. However, this does result in the stultifying of the material after time, I feel. In the case of Les Mis it was clear that the actors had a strict track to follow - not just in the blocking (which is fair enough - they have to hit their marks for lighting and set reasons) but in every gesture. The show is completely annotated and the resident director is paid to ensure this is followed and indeed when it comes to cast change the characterisation and blocking is followed completely.
I recently saw the new cast of Kinky Boots - third cast, and the show and performances are completely the same as the original. The actors may change but the characters do not. So they conform to the template - this may be artistically frustrating but it is work (probably a years contract in a musical) and pays the rent!
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Post by wickedgrin on Aug 14, 2017 0:04:49 GMT
He is rather too prolific an author in IMHO. I think he has written over 70 plays and quite honestly only a handful can be considered successful - how many of the 70 can you actually name? I always think of the plays as - oh that's the one in the kitchen, in the garden with the pond, in the garage with the car, on the boat on the river etc. Certainly a lot of his "hits" were early in his career - Relatively Speaking, The Norman Conquests, Bedroom Farce, A Chorus of Disapproval, A Woman in Mind etc. I would argue that nothing written since 2000 (in the last 17 years ) has echoed his early success.
His future plays - was it Communication Doors with the time travel? - was so full of plot holes that it made no sense at all.
Of course also his early plays were always "tried out" in Scarborough with an unknown cast and then transferred to London with a starry cast - was it the Norman Conquests that had Penelope Keith, Felicity Kendal, Richard Briers, Tom Conti in the original cast - all at the top of their game, imbuing the plays with their unique talents.
The Divide sounds awful!
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Post by wickedgrin on Aug 13, 2017 23:15:35 GMT
Lucky enough to get a Today Tix Rush seat for this last week - an absolutely brilliant seat in the centre of Row C in the circle for £25. This was a top price seat normally at £70.
I have not seen Jerusalem and wanted to see this to see what all the 5 star fuss was about!
This is a long play, and demands a lot from a modern day audience with limited attention spans. The second and third acts running 2 hours straight with only a 2 minute " pause " between acts. However, this play and the performances held a packed theatre in total thrall.
The play throws everything at this - a large cast, animals, children, babies and even the kitchen sink.
It elicited big laughs, gasps at the end and an almost complete standing ovation from a packed house.
I enjoyed it - very well acted throughout, with high production values, but for some reason I cannot put my finger on, I was less enamoured with it than the rest of the audience. The ending which seemed such a shock to people around me came as no surprise for me and I did feel that some of the characters were stereotypes and it was over indulgent in its length.
But, as I said, overall I did enjoy it.
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Post by wickedgrin on Aug 12, 2017 22:58:52 GMT
I thought about going to see this a few weeks ago but when I checked the tickets prices (only top prices left) I thought I would leave it as it was to be shown on BBC4.
I enjoyed this on the TV - I thought well filmed for a change. The superb orchestra was the star - a wonderful sound of a great score. Surely this show is due for a revival. A whole new generation must never have seen it.
I thought the staging was excellent (although in a small space?) with superb choreography.
My only reservation was the mixed bag of the cast - superb were Robert Fairchild and Lizzy Connolly. I also liked Scarlett Strallen although slightly too "operatic" for my taste in the role. Rather poor, however, was Belinda Lang as Aunt Eller who took "hollerin" to a whole new level with no warmth to her performance at all and truly dreadful was Marcus Brigstocke as Ali Hakim.
Also the show is too long especially the first act and you always think the show is over with the wedding of Curly and Laurey and Oklahoma but no there is another 15 minutes!
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Post by wickedgrin on Aug 10, 2017 10:15:49 GMT
I agree with the above post. When I go to Chichester I always ensure I have a central seat after enduring several shows (musicals) where I was sat at the side and felt I was watching the show from the wings of the theatre. All the direction being "out front". If the show transfers to a proscenium stage in London it should be re-blocked. However, having said that, I feel that the main stage in Chichester is a very difficult space to work with.
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Post by wickedgrin on Aug 7, 2017 15:14:12 GMT
It would be easier to establish the meaning of life than predict who will play Effie from one show to the next!
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Post by wickedgrin on Aug 6, 2017 11:27:56 GMT
I went with my niece and nephew ( 15 and 13 ) and they were enthralled by the production, mainly because of the spectacle of the visuals - a great introduction to Shakespeare for them. However, I have to say that the physical tricks like the disappearing feast and table etc. prompted the most questions from them. They are so used to seeing CGI in film and computer games that the old stage tricks had the most fascination!
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Post by wickedgrin on Aug 3, 2017 23:16:44 GMT
It seems to be selling well at high prices too. Not too bothered about missing this as I am not a Sienna Miller fan.
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Post by wickedgrin on Aug 3, 2017 23:13:29 GMT
You will be safe to go on Saturdays - when he will be off doing Strictly It does surprise me has got this gig as he will be off for 2 of the busiest shows of the week on Saturdays doing Strictly. His panto commitment usually work around his Saturday unavailability but this is the West End! I am amazed the producers could not find a box office name to do this 8 shows a week?
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Evita
Aug 3, 2017 22:35:24 GMT
Post by wickedgrin on Aug 3, 2017 22:35:24 GMT
5 stars from Mark Shenton of course.....
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