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Post by adrianics on Dec 12, 2019 16:07:45 GMT
I agree that the marketing for Beetlejuice has been pretty amazing - I wouldn't be all that interested in seeing it but I fell in love with the marketing that revolves around the leads singing Banana Boat song (they have incredible chemistry) and reworkings of The Whole Being Dead Thing, particularly the performance at the Tony Awards where they worked in a jab at Adam Driver.
We're going to see the Christmas Eve matinee, very much looking forward to it!
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Post by adrianics on Dec 9, 2019 19:53:46 GMT
I thought Sandra Mavin was good but has comparatively little to do compared to the other ladies
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Post by adrianics on Dec 9, 2019 16:56:58 GMT
My wife and I finally saw this on Friday last week.
The show is not really my cup of tea, I'm more of a characters and story guy and kind of found everyone formulaic (Sassy Black Friend! Crass Nasty Boyfriend! Awkward Friend! Gruff Boss!) and the pace of the story a little all over the place, although I did love the dark shade of the main romance (I am convinced that the Doctor's wife wasn't mentioned until after the affair started, though).
Everyone in the show with one notable exception was terrific, particularly David Hunter. It's obvious he's one of the few remaining OGs, he is supremely confident and entirely convincing in the role and clearly having the time of his life. He has improved somewhere between 10 and 20,000x since I saw him in Once and fully deserves to be the bonafide West End leading man he now is. Olivia Moore was extremely impressive as Jenna; although she took a while to get going, by the time she'd found her volume and confidence she owned the stage and brought the house down. Joel Montague is fast becoming one of my favourite stage actors and ran away with every single scene he was in.
Hannah Tointon, unfortunately, was absolutely terrible and her big solo song was honestly embarrassing to watch. Her characterisation is okay but she does not have anywhere close to a good enough voice to do the material justice and at one point I thought she was going to be swallowed whole by the gap in ability between her and the other leads. Maybe she'll get better as she gets used to the demands of the show but it was rather disappointing to see that performance after the unanimous praise Laura Baldwin got.
Overall I'm very happy I finally managed to bag half-affordable tickets to this (row E of the Dress was great, thanks as ever Theatremonkey) but am in no real rush to see it again. I had a perfectly nice evening but don't consider this one a classic.
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Post by adrianics on Nov 5, 2019 13:57:12 GMT
The graphic novel is one of my favourite pieces of entertainment ever and I'm loving the tv series so far. Ties into the comics much more frequently and in much more depth than I anticipated (I was under the impression it was a "re-imagining"), which makes me wonder how much of it goes over the heads of anyone not familiar with the comics. I think they've done a great job staying true to the tone and themes of the source material whilst establishing its own identity.
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Post by adrianics on Nov 5, 2019 13:25:43 GMT
Mel Giedroyc and Justin Edwards attended Falsettos together last night; I saw them queuing to buy some merchandise after the show.
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Post by adrianics on Nov 5, 2019 13:23:59 GMT
My wife and I went to the bar after lights up and there was most definitely an announcement.
I too had never seen anything like it, particularly bizarre was that they managed to convince Joel Montague to come in (I have to say he looked less than impressed during the bows), but the cast did brilliantly under difficult circumstances.
Unfortunately, for me the whole situation rather blew the established chemistry and dynamics apart; McKenna's portrayals of both Whizzer and Mendel were drastically different to Montague and Savile's, and I don't doubt that the performances of the others adapt to the different potrayals too, so it was hard to remain invested.
Ultimately I can see why this production is Marmite, I found a lot to enjoy about it (particularly the music and lyrics, and performances) but can see why people would find it hard to engage with.
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Post by adrianics on Nov 4, 2019 21:02:25 GMT
High drama at tonight's show - One of the actors has taken ill at the interval and, with the standby already on, they've had to bus an emergency replacement in...
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Post by adrianics on Oct 23, 2019 8:31:51 GMT
MAKEEEEEE HIMMMMM MINNNNNNE!!!!! The stories and backstage drama of that show is more fascinating than the drama on stage. I had several friends in the original. DRAAAAMMMAAAAAAA I remember reading an interview with Ian Mcshane a while back where he was asked (paraphrasing) "what advice would you give future producers who wish to put on Witches of Eastwick" and he said "Cast three women who don't hate each other".
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Post by adrianics on May 15, 2019 15:21:13 GMT
Saw this last night. Thanks as ever to the Monkey, we were sat in Circle C40 and C41, view is absolutely fine for £10 and you barely miss anything.
I thought this production was pretty bad, if I’m honest. I’m all for minimalism and found it pretty entertaining watching the ensemble manipulate the stage but I thought some of the aesthetic choices were baffling (the ladders) and others utterly terrible (Charity’s inexplicable microphone during Where Am I Going), which undermined the whole exercise when it worked, such as the Coney Island scene which I thought was amazing. I also loved the way they did Rich Man’s Frug, other than that the choreography was kind of all over the place. In fact, “kind of all over the place” sums up this production pretty well; Sweet Charity is a pretty bizarre and difficult to engage with show at the best of times and there were many moments, as my wife succinctly put it, that it felt the production was trying to be too clever. One minute you’d get a very rousing number such as RMF or, especially, Rhythm of Life which both looked and sounded incredible, the next you’d get Something Better Than This which devolved into the three ladies running aimlessly in a circle (god they looked knackered) or Dream Your Dream with the overtly on-the-nose and literal representation of stuff made perfectly clear in the lyrics.
I think if this were a play rather than a musical I would have thought more of Anne-Marie Duff and Arthur Darvill’s performances. Duff’s interpretation of Charity is certainly new, and bold, and fit very well with the production’s dark aesthetic. At times she was utterly heartbreaking and incredibly vulnerable, a desperate woman in a constant state of furious denial rather than the traditional permanent optimist. The problem is that she cannot sing, like she can’t style it out or make it work or anything like that, she just can’t sing and it doesn’t sound good. Once the belting started it was impossible to tell where her put-on huskiness ended and her genuine struggles to hit the notes began.
Darvill is… Well, I thought he was okay. He also can’t sing (the title number was actually pretty painful to sit through) and attempts to RADA project his way out of it which I really didn’t like, other than that his characterisation was solid and he does as much with the role as he can. I couldn’t help but think that there’s a veritable army of male actors out there who aren’t as famous but would have done a lot better.
Overall, I mean for £10 per ticket I can’t really complain but thought this was a misfire.
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Post by adrianics on Apr 24, 2019 16:00:28 GMT
Oh imagine if you went to the audition and ended up being cast at The Other One? Oh the shame. Thank you for reminding me of one of my favourite ever jokes, Frankie Boyle introducing Michelle Williams on Never Mind the Buzzcocks: "One of the most beautiful, famous and successful women is the world...'s friend."
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Post by adrianics on Apr 24, 2019 13:54:30 GMT
Any tips on seating at the Alexandra? Never been there and the prices seem fairly reasonable but don't want to be stung!
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Post by adrianics on Apr 12, 2019 12:38:32 GMT
Encore Tickets and the Playhouse allowed me to transfer our tickets to Caroline or Change when we had to drive to Solihull for a family funeral. The Encore ticket agent called the theatre on our behalf and called us back with an answer, which is something that is depressingly rare. They were very sympathetic and helpful, and the whole process was painless.
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Brexit
Mar 29, 2019 11:34:43 GMT
Post by adrianics on Mar 29, 2019 11:34:43 GMT
We'd have been out today if our MPs had followed the people's wishes or that Gina Miller hadn't got involved! What do you believe "the people's wishes" are?
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Post by adrianics on Mar 28, 2019 9:08:58 GMT
Boris Johnson and Jacob Rees-Mogg yesterday gave up any and all pretence that any of this is about literally anything other than their own self interests and careers, it's high time we treated these hypocritical, self-obsessed gasbags with the contempt they deserve.
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Post by adrianics on Mar 20, 2019 12:50:31 GMT
Sunderland Empire for Ghost last Saturday matinee. I would love to have words with the person who invented the "order at your seat" bag full of overpriced food/drink. Every few seconds (I was sat at the end of the row) I was having to pass those bags down the row. The ushers more concerned with flogging this service than with anything else. The lights went down, the band started. I was trying to listen but all I could hear was the usher still handing out those bloody bags and talking loudly across us "it's seat 28. Yes. Along a bit. Is that yours? Who ordered the wine?". THE SHOW HAS STARTED. SHUT UP FOR GOODNESS SAKE! Had this exact problem when the wife and I went to Everyman Cinema; love the idea of getting booze and food with your film but it's so disruptive if they let you order it during the presentation!
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Post by adrianics on Mar 19, 2019 10:02:28 GMT
OK then. Forget medications, just-in-time supply chains, the economy, jobs, and all the rest of it. You're a glass-half-full person, you say. What's your solution to the border in Ireland? What's your solution to the border between Spain and Gibraltar? Given what we have learned, the notion of "supporting the referendum result unquestionably" is completely beyond me, it's utterly baffling, especially for someone who voted to remain. Unquestionably?! As citizens of a democracy in which a referendum with seismic effects has been shown to have been conducted in a criminal way and with overseas interference, how the hell can we NOT question it? I am an optimist too. But my innate optimism cannot make me "embrace" the prospect of a no-deal exit any more than "come on, we'll get through it and survive, we have no choice" will. Sometimes I think we've gone through a wormhole into a parallel universe of smiling insanity. I still have no clear idea of WHY we are leaving the EU other than that a slim majority voted for it in a tainted advisory referendum and it must therefore be done at literally ANY cost. This is f***ing crazy. Aside from sf's questions above, one of the most shocking things about embracing or calling for a no-deal exit is the unconscionable shafting of millions of UK-based EU citizens it represents. People who have lived and worked here, fallen in love here, had children here, are having to APPLY for so-called settled status as it is and there are already cases of failed applications. Some have pre-emptively already left the UK, where they've made their homes, so stressful and frustrating and upsetting is the uncertainty and resentment. Millions of people are being shat on by those "embracing" a no-deal brexit and it's an absolute disgrace. My optimism withers in the face of how toxic everything about brexit has become. I have found it so hard to put into words how these last three years have made me feel, so I just wanted to leap in to say that you have summed it up so well. Thank you!
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Post by adrianics on Feb 28, 2019 15:25:50 GMT
A little late to the party, but by god I wish I hadn’t bothered. I’m confused by the ending though... why did it end on the two kids begging? To emphasise that the revolutionaries died for nothing
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Post by adrianics on Feb 27, 2019 11:52:14 GMT
Firstly: Thank you to the always essential Theatremonkey for pointing me towards the Grand Circle of the Phoenix, £15 for row E was a true bargain. A fantastic view of the entire stage and missed nothing.
I was also in the audience on Monday night. I don’t know how to make my superlatives distinguishable from everyone else’s, there isn’t a lot for me to say that hasn’t already been said but here it goes!
I was absolutely blown away, astonished and stunned at every aspect of this production. It’s unlike anything I’ve ever seen and has catapulted its way into my favourite shows I’ve ever seen.
The writing: An incredibly engaging, rousing and distinctive score, beautiful lyrics and frankly exceptional book that somehow managed to juggle several fully-realised, distinctive characters with noted and believable arcs alongside genuine hilarity and well-earned moments of pathos. They managed to take a fantastic premise of ordinary people unaccustomed to a crisis coming together when the world needed them to and completely smashed it, writing not only a very engaging story in its own right but also an outstanding musical. It’s an irresistible celebration of humanity’s capacity for kindness, love, charity and togetherness even when facing the absolute worst that life can throw at you. Among the relentless negativity we’re constantly being bombarded with, this show could not have picked a better time to come to our shores.
The directing: Just exceptional, unlike anything I’ve ever seen. The staging brilliant in its simplicity and ingenious in its depth. The ridiculously energetic and well-drilled cast keeping the action moving at a breathtaking pace, not even allowing you the indulgence of applauding the musical numbers. Character changes so rapid and subtle that you barely notice they’ve happened, but both the writing and performances so good that you immediately recognise the change. The band are utterly fantastic and I adore how they’re integrated into the action as appropriate and fully celebrated for the essential part they play in the show, complete with a well-deserved dedicated bow. I don’t believe I’ve ever seen a West End band clearly having so much fun and enjoying the work. Incidentally, my wife and I went for a drink at the Artist’s Club afterwards and were told that the band play a set at 9:30pm every Tuesday night, if anyone would be interested.
Oh my sweet God above, that cast. I can’t think of a word to describe them other than perfect. I had no idea this was an ensemble piece wherein a small cast played multiple roles but they all did a magnificent job. So much energy, passion and commitment along with superb characterisation across the board and a range of terrific voices. I feel like a charlatan picking just one for praise as it’s very clear that this is produced as a team effort, but damn it Clive Carter is *so good* and for me was the standout. He really set the pace and standard, and his performance particularly as the Mayor was the highlight for me.
The audience was clearly lapping it all up, throwing their heads back with laughter during the humour and you could hear a pin drop during the quieter moments. The most raucous and immediate standing ovation I’ve seen in a long time and no less than fully deserved.
For the first time since I can remember, I want to go back and see a show again. Finally I understand why people go to the time, effort and expense to see shows over and over, Come From Away has captured my imagination, destroyed my perception of what a musical can and should be and has taken my heart. If you have any hesitation at all, just go. Just do it. You won’t regret it for a second.
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Post by adrianics on Feb 25, 2019 12:45:01 GMT
I think the young man playing Noel last night is the best child actor I’ve ever seen on the West End. I thought the same thing. Was it Jack Meredith ? Just had a quick peruse of the website and I saw Aaron Gelkoff. Accent was a little ropy but I've seen far worse, and he was otherwise very impressive.
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Post by adrianics on Feb 21, 2019 10:14:12 GMT
Managed to get £10 seats in the infamous row C of the Circle - Happy enough with that.
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Post by adrianics on Feb 20, 2019 9:29:13 GMT
Saw this last night.
I’m so happy I had a quick peruse of this thread and can see how polarised the opinions are on this show. To me there’s no denying how stupendous Sharon D Clarke’s performance is, how strong the ensemble is and how well the show is directed, but the show itself is a pretty hard slog. Part of me loved how unconventional it was and how deeply it explored every character, but a bigger part was bored stiff and confused as to what I was meant to be getting out of it. I love an unconventional, character-driven musical as much as the next guy but I was desperate for just one toe-tapping, conventional, memorable number that I could listen to out of context later.
I’m currently either/or on whether or not I liked the greek chorus of inanimate objects (as good as the performers were), but it took everything I had not to burst out laughing at the insane sight of a bus belting “THE PRESIDENT” over and over.
As an aside, I think the young man playing Noel last night is the best child actor I’ve ever seen on the West End. Big props as well to the actress playing the eldest daughter, she was quite outstanding and ought to be spoken about as glowingly as Clarke.
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Post by adrianics on Feb 14, 2019 12:47:02 GMT
There's also a whacking great loophole in WGA rules that means the writers of the original animated film don’t need to be paid anything if their script is used for a live-action remake, if I understand correctly. The screenwriters for BATB and Aladdin both confirmed.
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Post by adrianics on Feb 12, 2019 12:31:59 GMT
I'm far from a fan of the live action remakes Disney are pushing through - Beauty and the Beast in particular was complete trash - but even so I am flabbergasted at how bad the Will Smith Genie looks. Rise of the Planet of the Apes was seven years ago and set the standard for mocap/CGI characters, a standard that was blown apart by Thanos last year, and with the amount of money behind the studio and the amount it's pretty much guaranteed to make, there's absolutely no excuse.
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Post by adrianics on Feb 12, 2019 11:44:37 GMT
Saw the show for the fourth time yesterday, these guys just get better and better every time I see them. The show was One Last Push!!, set in a maternity ward in Glasgow in the styles of The Mikado, Chicago, Dreamgirls, Bat Out of Hell and The Lion King. This company is phenomenally talented and I have no idea how they do what they do but I adore them for it.
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Post by adrianics on Feb 5, 2019 13:55:29 GMT
The first half of the episode, everything up to Javert's suicide, was quite outstanding. The falling of the barricade, particularly the execution of Enjolras and Grantiere, was heartbreaking, brutal and intense. Javert's suicide was unbearably poignant and acted superbly, as was Baron Pontmercy's delight at getting Marius back.
Then everything just kind of fell to sh*t. Marius barely reacted to finding out he was the only survivor of the battle then it was never brought up again, Valjean aged about 25 years in six weeks and was merrily hucking plants until the very second he saw Cossette, at which point he hilariously fell to his knees and said "I'm going to die soon", which is one of the most unintentionally hilarious lines I've ever heard. It also was far from clear to me where Valjean was or how Cossette knew he would be there, unless I missed something?
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Post by adrianics on Feb 4, 2019 20:50:06 GMT
Amazing and outstanding episode until the final 15 minutes, which were impossible to take seriously. My wife kept yelling "its been six weeks!"
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Post by adrianics on Feb 1, 2019 12:05:03 GMT
To give my full opinion, I'm really enjoying this series. I've never read the book but am familiar with some of its intricacies, but even as a fan of the musical it's fun to see some different interpretations and the story in a new light.
I particularly love the portrayals of Valjean, Javert and the Thenardiers. Valjean as a righteously furious and constantly paranoid man barely keeping it together makes perfect sense to me, and I loved how Dominic West played his reaction to the Bishop gifting his silver (bursting out laughing like he can't believe what's happening).
Javert immediately recognising Valjean and proceeding to screw with him was also great, I loved how they portrayed the cart scene as more of a "you've now done something I can't pretend I didn't notice" rather than an epiphany. It's also very interesting to see that Javert's obsession is effecting his competency, his colleagues are clearly pretty weary of how he focuses on Valjean at the expense of what they consider more important work, and how he blows his cover on the barricade almost immediately.
And the Thenardiers being portrayed as complete, irredeemable pieces of sh*t is so effective.
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Post by adrianics on Jan 29, 2019 11:34:13 GMT
Javert's "how do you do, fellow kids" approach to going undercover in the barricade was absolutely hysterical!
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Post by adrianics on Dec 4, 2018 14:21:41 GMT
Have to say that the time I saw it the deliberate misinterpretation of the audiences suggestions highlighted how much of this is set out beforehand. You have mistaken "rehearsed" and "honed over hundreds of performances" for "set out beforehand". I've seen the show three times and it was completely different each time. What do you mean by "deliberate misinterpretation", by the way?
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Post by adrianics on Nov 29, 2018 14:03:18 GMT
Fantastic - Really happy they're getting a proper residency again, a very talented company and I've laughed my arse off at every show of theirs I've seen.
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