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Post by ShoesForRent on Sept 8, 2016 15:50:12 GMT
I'm confused- hasn't Laura left at cast change? Is there an Elphaba shortage so soon..?
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Post by ShoesForRent on Sept 8, 2016 13:07:29 GMT
That YouTube guy and his 2 friends were totally the ones before me in the day seating queue back in Dec. when Laura Emmitt went on... aka the only time I saw Wicekd this decade- what a wierd coincidence.. yeah they were constantly talking as if they knew the cast personally- tweeting them and the like. One of them who is in the vlog said she started seeing Wicked last year and has been around 60 times, the other was well over 100- so you can guess the 'type' of fans they are I guess That show wouldn't happen to of been the 22nd December would it? Funny that he has three audios of thst performance that night but says he doesn't record them... smart. Yeah Id say thats the one (would have to dig up my ticket to say for sure, but it sounds right) Funny thing is I don't think it was common knowledge Laura would be going on that show until maybe an hour before, and I got to the line at 7:00 that morning (straight from an overnight bus from Edinburgh- ahh backpacking) why would you camp earlier than that for a regular show? Lol.
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Post by ShoesForRent on Sept 8, 2016 11:52:23 GMT
That YouTube guy and his 2 friends were totally the ones before me in the day seating queue back in Dec. when Laura Emmitt went on... aka the only time I saw Wicekd this decade- what a wierd coincidence.. yeah they were constantly talking as if they knew the cast personally- tweeting them and the like.
One of them who is in the vlog said she started seeing Wicked last year and has been around 60 times, the other was well over 100- so you can guess the 'type' of fans they are I guess
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Post by ShoesForRent on Sept 1, 2016 14:03:53 GMT
So Ham4ham is over- what up with that? I thought Rory did a pretty good job with it..
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Post by ShoesForRent on Aug 29, 2016 10:42:57 GMT
Ok, I'll nominate Hamilton Addict as the Forum's Biggest Hamilton Addict, and one of our Youngest and Most Enthusiastic Theatre-Goers. Both sides of The Pond! I need to get a speech prepared! I nominate you for best reaction memes/pics, because this board would be soarly lacking them without you
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Post by ShoesForRent on Aug 20, 2016 16:19:45 GMT
My face looks an awful lot like my current picure- in that that it's red and shiny Don't take it personally forum- I don't have an instagram or social media at all really either- I kind of "Sia" my way through the internet ha! But if I happen to be caught on camera I'll post it here
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Post by ShoesForRent on Aug 20, 2016 10:15:06 GMT
Cough*itsaboutherpoorlywrittenbookthatsrecievedverytepidlyonamazon*Cough She was asking fans to review it on Twitter just before that video lol "you can totally enjoy it even if most people say it reads like a 12 year olds fanfiction!!"
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Post by ShoesForRent on Aug 8, 2016 14:53:02 GMT
I just booked a ticket to Alan Cumming Sings Sappy Songs. It was a sold out show, but they've obviously had some returns/added extra seats. I had one slot available for the time and I managed to get the last ticket for the only time slot I could make. A bit pricey for Fringe shows (at £30, though it is the International Festival as opposed to the Fringe) but it's Alan Cumming, so I am happy to pay for him. If anyone going wanted to catch this show I would recommend getting on the website and grabbing one of the few remaining tickets before they go. Oh I'm sooo jelous of you- I was just going to ask if anyone's going to see his show. Love him so much!! hope you'll enjoy it!
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Post by ShoesForRent on Jul 31, 2016 19:20:33 GMT
That's interesting thank you michael. Wow an f6 is one tough note- especially sustained like it is at the end of TG. My hats are off to those talented ladies who choose to hit it.
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Post by ShoesForRent on Jul 31, 2016 17:56:44 GMT
I see they answer that Glinda hits (optionally) an F6 and a G6- i really think though her highest (optional) note is an E6, while the non optional highest note is a C6- i remmeber Kara Lindsay speaking of this in a Playbill interview, I'll try and find it tommorow. i could be wrong of course- I haven't got the most trained ear.
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Post by ShoesForRent on Jul 31, 2016 17:51:02 GMT
It's such a shame Adam Guettel hasn't released anything since Piazza- that was a glorious piece of musical theatre. It's also baffling to me how Piazza never saw a London stage. Oh, I agree. I would LOVE to see The Light in the Piazza staged here. I have seen numerous clips on YouTube and apart for the music, the whole 'look' of the show is simply beautiful. I wish there was a way the PBS special could be viewed on this side of the pond. If you're not opposed to less than legit methods- i might have a link for that too
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Post by ShoesForRent on Jul 31, 2016 17:10:08 GMT
It's such a shame Adam Guettel hasn't released anything since Piazza- that was a glorious piece of musical theatre. It's also baffling to me how Piazza never saw a London stage.
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Post by ShoesForRent on Jul 31, 2016 12:36:43 GMT
I've just realised, after looking through her bio, that I've seen Charlotte Wakefield in Regent's Park's Sound of Music and she was excellent in that!
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Post by ShoesForRent on Jul 31, 2016 12:06:31 GMT
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Evita
Jul 28, 2016 8:28:38 GMT
Post by ShoesForRent on Jul 28, 2016 8:28:38 GMT
Wasn't there already a UK tour following the West End revival? Starring Louise Dearman?
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Evita
Jul 27, 2016 14:21:55 GMT
Post by ShoesForRent on Jul 27, 2016 14:21:55 GMT
You know what I wouldn't be half surprised if Laura Emmitt ends up in that cast.
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Post by ShoesForRent on Jul 26, 2016 12:54:53 GMT
Yes for all the Passion love! Favourite weird musical of mine! Oh, I struggle with this one, though otherwise enjoy Sondheim (with the exception of A Funny Thing Happened.....). I went to see it at the Donmar and really wanted to like it but couldn't wrap my ears round the music. Perhaps I should try listending to the CD a few times. My favourite Sondheim is Pacific Overtures though. Sorry, wandered off the topic of unpopular opinons a bit here. I'll admit that the only production I've seen is the film recording of the original cast with Donna Murphy- which I've rewatched several times. It is an odd one, very bleak and depressing. But I get Fosca- manipulating as she is. And you don't see many leading charachters like her.
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Post by ShoesForRent on Jul 26, 2016 9:59:38 GMT
Yes for all the Passion love! Favourite weird musical of mine!
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Post by ShoesForRent on Jul 25, 2016 18:01:43 GMT
I wonder why you dismiss anything with Sondheim's name on it? I don't like his melodies very much either (depending on the tone of the show- but they do sound the same-ish to me too). Is it the lyrics for you? The tone he writes in? I'm genuenly curious- because his shows are quite different (especially the ones he didn't compose) in tone and subject at least, and the books he writes for are usually very finely tuned. Do you not like west Side Story either? I still owe you an answer to this. I never cared much about Sondheim. But after I read all the positive posts and rave reviews in the old board about Sondheim, I bought two cast recordings (I think it was Sweeney Todd and Into the Woods) and listened to them. A few songs into them, my ears were bleeding and I was grimacing with pain. Horrible doesn't even come close, and while I can usually understand people appreciating things I don't, it is completely beyond my undestanding how anyone can enjoy Sondheim. My first exposure to his material was so bad that I promised to myself to never ever see a show that Sondheim is involved in, irrespective of whether he wrote songs only, lyrics only or both. I was worried I had offended you. I think you were just exposed poorly- Sondheim, I think, is very hit or miss. Sweeny Todd, at least musically, very much an aquiered taste, but I like the show well enough. Never listen to a recording though (but have watched the Lupone concert twice) Into the Woods bores me, I've listened to the Obc, and only watched half the movie. I LOVE Passion (if I could play any role in my lifetime it would be Fosca) but its such a weird show and many people booed it at the theatre so make of it what you will. You haven't said what you thought of West Side Story, you must have heard at least snippets of it. I'd really suggest watching Gypsy- the music is Jule Styne and not at all reminiscent of Sondheim's "same ol tune" music- its a light easy going musical score, quite clever. The lyrics are very strong, and suprisingly not pretentious, as I find Sondheim sometime goes. And the book is, as I said, probably the best book a musical ever had that I'd seen. I have a free link to Imelda's- It's a good production and she's very good in it. Just in case you change your mind I'm not a Sondheim fanatic by any means- but I really do recommend it. You can blame me and ignore for the rest on our days of it sucks too >< But thank you for answering either way
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Post by ShoesForRent on Jul 25, 2016 15:19:42 GMT
Is there actual research to back this up, or just your observation?- Im curious. I'm trying to think of really succsful musicals (Phantom, Les Mis, Wicked) and while those don't have what I'd call 'weak' books- they aren't the smartest either. and other long runners (Mama mia, heck most Jukebox, Cats, Lion King) have books that in my opinion- range from boring to plain dumb, and their scores are the stronger contenders (but of course this topic is all very subjective to the individual). But it would be interesting to really dig deep into this one (maybe I'll make my thesis next year, maybe I'll make it about Sondheim and consult Michael ) Granted, it's not based on any scientific research. But I'm also involved in writing myself, and I've read lots of books and online articles about the structure of musicals. Virtually all of them say that a show with a great book and mediocre score has a bigger chance of success than a show with a mediocre book and a great score. I've also experienced that myself. For example Jekyll&Hyde has a great score but a weak book, and didn't do extremely well. Kinky Boots on the other hand has a solid book but a weak score (in my opinion) and is doing quite well. As for Jukebox musicals, they're an exception, because they are based on music that is already very popular. That means it's sure to draw crowds, many of them people who wouldn't see musicals otherwise. I think it makes a big difference compared to having a great score of new songs that no one has ever heard before.
To be honest, I love it when a musical has a great score, but I just can't bear to watch a bad story, even if the score is great. And I must disagree about Les Mis and Wicked. I think they have great books.
Jekyll and Hyde ran for 4 years and is very succesful in the international/ touring/ regional/ highschool fronts, Kinky Boots hasn't reached that yet on either count- so there is no knowing which will outlive/ be more succesful the other. There are many examples though that I and Baemax listed in this thread for the most succesful shows, non Jukebox, currently running or otherwise- that have very poor books but memorable scores. I would be interested to see (or look into) statistics for this though.
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Post by ShoesForRent on Jul 25, 2016 14:17:42 GMT
It's exactly the other way round for me. A strong book is a nice addon, but if the score is weak (or even just average), it's highly likely that I won't enjoy the show - irrespective of the strength of the book. That's also one of the reasons why I enjoyed Rock of Ages that much. That may be true for you, and I can understand that. But in general, shows with a great score and mediocre books don't tend to do well, while shows with a great book and a mediocre score often succeed. Is there actual research to back this up, or just your observation?- Im curious. I'm trying to think of really succsful musicals (Phantom, Les Mis, Wicked) and while those don't have what I'd call 'weak' books- they aren't the smartest either. and other long runners (Mama mia, heck most Jukebox, Cats, Lion King) have books that in my opinion- range from boring to plain dumb, and their scores are the stronger contenders (but of course this topic is all very subjective to the individual). But it would be interesting to really dig deep into this one (maybe I'll make my thesis next year, maybe I'll make it about Sondheim and consult Michael )
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Post by ShoesForRent on Jul 25, 2016 13:59:44 GMT
Ha see Michael I was just going to say Gypsy is like the strongest book musical there is, and the music isn't Sondheim's either- but I see you're more of a score person than a book one. I too prefer a strong score- I'm drawn to music more than words. And while I don't find myself listening to a Gypsy recording, well, ever- I have watched the Imelda recording a few times now. I think it's a great show. It's one of those really rare ones where music, lyrics and book are just right- just what they should be. I wonder why you dismiss anything with Sondheim's name on it? I don't like his melodies very much either (depending on the tone of the show- but they do sound the same-ish to me too). Is it the lyrics for you? The tone he writes in? I'm genuenly curious- because his shows are quite different (especially the ones he didn't compose) in tone and subject at least, and the books he writes for are usually very finely tuned. Do you not like west Side Story either?
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Post by ShoesForRent on Jul 25, 2016 13:27:15 GMT
*WestSideStoryIsBernsteinNotSondheimHeOnlyWroteTheLyrics* ohh cough cough lol It's still a Sondheim musical. Just like Evita is also a Tim Rice musical, and not just Andrew Lloyd Webber's. I think this approach is a big problem, because lyricists and book writers are just as important, if not more important in the case of the latter, than the composer. yes but this is what Mystifyre said: Bernstein wrote the music for WSS. Some ( EDIT- not most at all I just counted lol) Sondheim shows aren't actually composed by him, and while they are still his, the music was what i was replying to. (And I agree that the lyricist and book writers are just as important, but not more important- all three are crucial to making a musical work equally.)
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Post by ShoesForRent on Jul 25, 2016 12:16:56 GMT
*WestSideStoryIsBernsteinNotSondheimHeOnlyWroteTheLyrics* ohh cough cough lol but no the Sondheim hate makes me sad and confused, even though I too enjoy ALW slightly more (musically) but Sondheim is such a good lyricist - and on this board THIS seems like the unpopular opinion O.O Yep, you'd get eaten alive for giving a negative opinion on Sondheim on the BroadwayWorld boards. Yep. But in that place you get eaten alive for saying/ asking ANYTHING if your registration date is not before the year 2010, and you've earned your "seniority" or if you don't agree with the masses on any subject at all really (can you tell I hate the BWW boards...?) lol
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Post by ShoesForRent on Jul 25, 2016 12:00:38 GMT
*WestSideStoryIsBernsteinNotSondheimHeOnlyWroteTheLyrics* ohh cough cough lol
but no the Sondheim hate makes me sad and confused, even though I too enjoy ALW slightly more (musically) but Sondheim is such a good lyricist - and on this board THIS seems like the unpopular opinion O.O
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Post by ShoesForRent on Jul 22, 2016 12:58:16 GMT
Being a Tony winner does not make someone a big guy You're right re: universal. Im sure though it passed as property through Disney at some point... Almost sure.. lol Still, by the time it was Tony night LMM had become one of the most well-known composers of the last decade This is the last Ill add to this comversation because we're way o.t. but some were predicting Hamilton backlash because of its popularity- this did not happen. Why? Because Broadway was celebrating creators invention? Perhaps? Because the rest of the season was dramaticly weak? Probably (that choreo award was Savion's though, still angry) Wicked on the other hand was not well recieved with the critics or the industry (many actors were vocal about how they thought the cocept would tank) and yet it was succesful, much like Disney mega musicals- this is where the comparison draws I think. While Avenue Q was the little guy. And I do think still Wicked deservex best score- but I am going to give Q a listen soon, maybe Ill change my mind.
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Post by ShoesForRent on Jul 22, 2016 12:47:41 GMT
It really isn't though...? Literally no one behind the scenes is a big guy. Lin wasn't well known, Seller isnt that big a deal, no star in the production, the subject wasnt popular, the musical style isnt popular on Bway. Its the very definition of the little guy making it big (and Ill be the last to toot Hamiltons horn) And Wicked WAS Disney prorperty- Schwartz started ot as a film project for disney. And it does have that feel (and I love Wicked) of a disney mega show. You seem invested in this arguement pointoine but you are wrong on this count. LMM was already a Tony and Grammy winner. So was Alex Lacamoire. And Wicked WAS NOT Disney property. It was a film project for Universal. You are wrong on this count Being a Tony winner does not make someone a big guy You're right re: universal. Im sure though it passed as property through Disney at some point... Almost sure.. lol EDIT maybe Im mixing it up with that artist that imagined up Wicked as an animation... Im confused lol
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Post by ShoesForRent on Jul 22, 2016 12:44:45 GMT
Yeah pointoine I can't say I appreaciate your tone, and while it is a big step forward to have a date announced, musical film productions have gotten alot further and got cancelled- it's not beyond belief. Sorry? MY tone? What did I say wrong? We were just having a discussion. Someone said "you're kidding right?" because I said the release date was in 2019. Am I not allowed to say that this doesn't mean that it won't be made? And I enjoy having this conversation with you- it's intersting. But some comments you made to another poster read a little rude. I understand it was a joke though and apologize
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Post by ShoesForRent on Jul 22, 2016 12:42:37 GMT
Not the same bog guy (in Wicked's case it seemed like a Disney robo-show) Why Ham won so many is a different question though, not for me to answer cause I don't think it deserved all the awards it got. It's still a big guy show. It doesn't matter which big guy. And Wicked isn't Disney. It really isn't though...? Literally no one behind the scenes is a big guy. Lin wasn't well known, Seller isnt that big a deal, no star in the production, the subject wasnt popular, the musical style isnt popular on Bway. Its the very definition of the little guy making it big (and Ill be the last to toot Hamiltons horn) And Wicked WAS Disney prorperty- Schwartz started ot as a film project for disney. And it does have that feel (and I love Wicked) of a disney mega show. You seem invested in this arguement pointoine but you are wrong on this count.
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Post by ShoesForRent on Jul 22, 2016 12:38:35 GMT
Yeah I forgot Mama Mia (and I shall try to forget it once again) Still four movies in a decade or more I rather enjoyed 'Mamma Mia' myself. It was an enjoyable bit of fluff, just like the show. It does what it says on the tin. And great to see a load of really good actors having the time of their lives. I don't get bored easily, and I love a cheesy musical film- but by god I want those 2 hours back
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