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Post by adrianics on Jun 22, 2017 9:38:11 GMT
The Tory press jumped on her as Corbyn's sidekick and a return to the looney left days. The joke about her doing the maths on Countdown amused me also that she went on Play Your Cards Right and played the race card. My favourite was when someone pointed out that Russ Abbot's former backing band were The Black Abbots had she ever been a member. But it's definitely not an issue of prejudice?
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Post by adrianics on May 3, 2017 14:54:31 GMT
Great news - As per my post after seeing it, thought he was terrific.
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Post by adrianics on Apr 19, 2017 11:44:24 GMT
Making a unilateral judgement on whether someone is 'nice' or 'rude' based on how they react to being confronted at the stage door, on the one day in history you ever interacted with them, is a little harsh to me.
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Post by adrianics on Apr 5, 2017 9:44:23 GMT
I forgot to put a post in saying how much I enjoyed this when I saw it last month; we had Gary Trainor on as Dewey and he blew the roof off the building, if there's any damn justice in this horrible world he'll become a star. So much more convincing than the other Deweys I've seen clips off (I hope he won't mind me saying that he really committed to the character's slovenly nature, it is a compliment!), such great comedic timing and energy, and what a voice! Hugely impressed as well with the frankly disgusting amount of talent from the child ensemble, it was an absolute stroke of genius to have them playing their music live and really elevated the show. And after my faith in musical theatre as an art from was shaken by the complete travesty that was Aladdin, I was so happy to see a genuinely funny meta reference: {Spoiler - click to view} "I never want to hear that in this space again" in response to a child singing Memory
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Post by adrianics on Apr 5, 2017 9:31:18 GMT
The celebrity casting in Spamalot almost always seemed to be a catastrophe, Phill Jupitus and Alan Dale being particularly low points.
Joe Pasquale as Leo Bloom in The Producers is literally the worst performance I've ever seen on a stage, nothing short of a disgrace that he was cast in that show, particularly opposite the brilliant Corey English.
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Post by adrianics on Mar 31, 2017 10:11:34 GMT
Thanks for the heads-up
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Post by adrianics on Mar 16, 2017 16:59:36 GMT
I've since come to understand that we had, at minimum, the understudies for Jasmine and Iago on (I don't tend to know such things because I don't buy programmes). It could be that the regular Jasmine and Iago are better than the understudies.
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Post by adrianics on Mar 16, 2017 13:23:59 GMT
Haha, started with that then as I kept typing I realised there was loads I didn't like about it
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Post by adrianics on Mar 16, 2017 12:47:59 GMT
Wouldn't surprise me if they're not "allowed" to say anything outside school hours unless the sprog is in danger of injury. Seriously. I could totally believe that. Nah, they're still very much 'responsible' in every sense and would be on the line for a bollocking by the head if any of the little darlings got into trouble. More likely they were just lazy/given up.
But trust me no teacher thinks of an after hours trip as a 'free night out' more a 'how the f*** did I get roped into this sh*t I could be home drinking half a bottle of gin'
Ahem, not that I speak from experience of course.
Out of curiosity, how would you recommend one handles such a situation in the future? I kept thinking about asking the kids where their teachers were, or having a quiet word with the people I thought were the teachers. A mum at work who's seen this from both sides said you should find out what the school was and send a strongly worded letter to the Head.
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Post by adrianics on Mar 16, 2017 10:29:10 GMT
I've made nothing but positive posts about school trips in the audience, but lordy lordy lordy the kids sat behind us at Aladdin last night were absolutely determined to ruin that positive stereotype. So appallingly behaved while the teachers sat right next to them and did nothing. If the school or the parents are paying for your travel and tickets, that's not a free night out; you're on the clock and should be monitoring those kids' behaviour. Shocking.
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Post by adrianics on Mar 16, 2017 10:05:02 GMT
Saw this last night. One hates to be overly negative but I really, really struggled to find any positives in this show beyond an amazing performance as the Genie. It's actually kind of self-fulfilling that he opens the show sensationally with Arabian Nights, says "don't miss me too much" as he leaves then the resultant hour before he comes back on is so soul-destroying that you're begging the show to get on with it so he can pick it back up again, which he did with the equally sensational Friend Like Me.
The biggest problem with this show is the material; the script is an out-and-out abomination, with sub-pantomime innuendos that sunk like a lead balloon and positively cringeworthy nods to removals from the original film (a special place in Hell is reserved for whoever wrote "must you parrot everything I say"). The new material is a huge issue, not a single one of the new songs rises above 'barely tolerable', with Aladdin and Jasmine's new duet on the rooftop being a particular low point. I don't know whether it's the material, direction, performances or a combination of all three but the characterisation is terrible: In this show, Aladdin is an arrogant, preening douchebag who you desperately don't want to succeed, Jasmine is a wet paper tissue who makes no kind of impact whatsoever, the Sultan has been reduced to a cipher who does and contributes nothing (why did they remove the subplot of him being hypnotised by Jafar??) and Jafar and especially Iago are completely insufferable.
While I'm at it: What is the point of the three sidekick characters? Literally, why are they there? They contribute absolutely nothing to the plot and only exist to pad out the running time and bolster Aladdin. God, their terrible song that feels like it lasts for half an hour and ends with them being captured and the Genie freeing Aladdin as in the film, making the entire thing completely pointless. Then they're captured in their civilian clothes and somehow end up in their royal garb for the finale, did the guards allow them to change their clothes?!
Oh God, that finale. How bad is the finale? Having agonisingly stretched an 80 minute film into a two-and-a-half hour show largely by extending two minute scenes in the film to 15 minute scenes in the show and adding awful songs, they inexplicably decide that everything from Jafar getting the lamp to the ending should be rushed through in one two-minute scene with barely any room to breathe.
I will say that I thought the ensemble looked and sounded great, the set (particularly the Cave of Wonders) was fantastic and the orchestra was in fine form. It's actually rather dispiriting to see so much energy, talent and effort both onstage and off wasted on such rubbish material.
Other than that this is genuinely one of the worst shows I've seen in a long time and there's nowhere near enough to justify paying the sky-high ticket prices unless you're a completionist like I am.
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Post by adrianics on Mar 15, 2017 12:05:09 GMT
It's already been suggested, but definitely Stones in his Pockets; hugely challenging (each actor plays about 15 or 16 roles) but one of the funniest and most poignant shows I've ever seen.
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Post by adrianics on Mar 14, 2017 14:36:54 GMT
There is no problem, it's just that this works in both directions. Just like people are allowed to enjoy WWRY despite my own opinion that it's terrible, I am entitled to hold that view and do not deserve to be accused of being a "snob" who is "judgmental about other people" when I said absolutely nothing of the sort.
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Post by adrianics on Mar 14, 2017 11:44:01 GMT
I get really annoyed at the snobbery of people who don't like shows such as WWRY. Fair enough if you don't like it, that's your prerogative, but to say things like it's a "damning indictment of how far society has fallen" is a bit offensive to those who happen to have a different opinion to you about something as utterly harmless as a cheesy musical. Likes and dislikes are always subjective and nothing gives you the right to be judgemental about other people just because you prefer theatre you consider to be more refined or intellectually challenging. People like theatre for different reasons and some people would do well to remember and respect that. When did I mention anyone who's a fan of WWRY, or say that they weren't allowed to enjoy it, or be judgmental of them in any way? For someone who's so sensitive about this, you don't seem to see a problem with making huge assumptions about me.
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Post by adrianics on Mar 13, 2017 12:08:17 GMT
The only jukebox musical I've ever genuinely enjoyed as a piece of storytelling is Our House. Priscilla, Queen of the Desert is another good example of a jukebox musical having a decent story, ditto Beautiful and All Shook Up/Love Me Tender. Jersey Boys is a great show but is pretty poor from a storytelling perspective. WWRY is unmitigated garbage on every level and is a sad indictment of how far we've fallen as a society.
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Post by adrianics on Mar 13, 2017 11:43:19 GMT
Actors being bored is one of my bugbears. It's always so pathetically obvious and is insulting not just to the high-paying audience but also to the literally thousands of people desperate to make it who would give anything to be in that person's position.
The big examples that come to mind are Fred Applegate in The Producers (I have never seen a professional actor make such little effort, not even summoning the energy to pretend he was happy to be doing the show) and the entire cast of Spamalot when I saw it in 2008, with Alan Dale as King Arthur.
I think it's inevitable that after a while doing the same thing over and over again becomes routine and the initial rushes of adrenaline probably dissipate with time, particularly if it's a tightly choreographed musical with no room for improvisation or change, but if it's so horrible you can't use your training and experience to hide your boredom please do the honourable thing and resign so someone who wants to be there can take over.
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Post by adrianics on Mar 10, 2017 10:24:12 GMT
I still remember how disappointed I was when I found out that Michael Ball did the "I can't do this when you're standing behind me" bit during Timeless To Me at every Hairspray performance.
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Post by adrianics on Mar 1, 2017 16:46:59 GMT
Dreamgirls on Monday night - The Effie understudy was on, and right during the silent moment at the end of And I'm Telling You some drunken yahoo giggled like a chicken.
When the lights came up, the culprit and her gaggle of friends were in hysterical laughter over it, as if she hadn't just completely ruined the emotional highlight of the show for hundreds of people who had spent a lot of money for the privilege.
I don't know any more, guys. As much as I love our trips to the theatre the money is becoming increasingly hard to cobble together and our luck seems to be horrible when it comes to encountering these people who, through their ridiculous lack of self-awareness and consideration, have the power to completely ruin an evening.
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Post by adrianics on Feb 21, 2017 10:41:21 GMT
Just wanted to say thanks for the recommendation; a very informative and entertaining podcast. Although I did double-take at their description of Sheridan Smith as a 'previously unknown actress'
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Post by adrianics on Feb 20, 2017 16:28:49 GMT
Just to quickly confirm that the podcast danb mentions is Broadway Backstory, and should be available from any podcast provider. Thanks for the heads up
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Post by adrianics on Feb 14, 2017 9:54:39 GMT
Definitely echoing the advice to check availability at TKTs or Todaytix then just go to the theatre and ask for dayseats; all but the very biggest shows are likely to have good availability with a few hours' notice, especially during the week.
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Post by adrianics on Jan 16, 2017 12:11:15 GMT
Ended up with GC seats for the first preview performance. Glad I got in General opinions on the Victoria Palace GC seats, anyone?
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Post by adrianics on Dec 2, 2016 14:09:08 GMT
The Shawshank Redemption. A dreary and lethargic play, exacerbated by one of the most infuriating and pretentious programmes I've ever read in my life.
If you're going to smugly attempt to distance yourself from one of the most influential, acclaimed and beloved films in history by insisting you'll do a better job of adapting the original short story than the filmmakers did, it would be helpful to not completely rip off several artistic decisions from the film in your adaptation.
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Post by adrianics on Dec 2, 2016 13:23:20 GMT
An awful end to a very sad story; felt absolutely horrible for her that it was dragged out in public.
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Post by adrianics on Nov 30, 2016 16:20:06 GMT
Spot on, Showgirl, the correct response is indeed "oh, my mistake, sorry." The responses I've had, though, have ranged from, as I said, "but I'm comfy" to "and..." Basically, "I got here first, whatever my ticket says." Twice, I managed to evict the person myself, once, it required the help of the house manager. d'James has the right approach, just ask the box office. The only problem with taking a seat even after a show has started is that at the "latecomers let in" you could cause a problem. The way around that is to check with ushers before the show to find out when that will occur, and be ready for it. Thankfully never at the theatre, but trains are an absolute nightmare for this. "But I'm all settled in here, just sit somewhere else!"
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Post by adrianics on Nov 18, 2016 12:23:37 GMT
Everyone in the show was great (Evrio and Harman in particular), but please forgive me my unwillingness to give Hill any credit for that.
Yes, he should be allowed to try again, but someone needs to sit him down and remind him that he'll need to suitably adapt his usual style for the stage; if he wants to write a musical with elaborate, constantly changing sets and intricate and complicated costumes for two-second jokes, he probably has the clout and influence to make another film or a made-for-tv musical.
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Post by adrianics on Nov 16, 2016 10:15:04 GMT
Harry Hill and the stage simply don't mix; I Can't Sing was mediocre at best and atrocious at worst, and an absolute money hole due to his insistence on elaborate sight gags.
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Post by adrianics on Nov 7, 2016 10:12:53 GMT
Really sorry to hear what happened to you, but I'm touched to hear of a very humane and sympathetic response from the management of the Union.
Hope things start looking up for you soon x
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Post by adrianics on Nov 2, 2016 15:50:47 GMT
BurlyBear, you handled that situation like a king. From politely shushing them to being restrained and polite in the face of aggression. Well done
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Post by adrianics on Oct 19, 2016 11:44:53 GMT
Two amateur shows come to mind; in both cases I was the only person in my row, one of them was a more obscure show in a 150 seat theatre with about 20 seats sold and the other in a 600 seat theatre with about 100 seats sold.
No idea which was worse, but it was absolutely unbearable. In both cases I was supporting friends in the cast and in such situations I do my best to try and keep the laughter and applause going, but it's so difficult when there's no one around you...
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