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Post by Dr Tom on Oct 20, 2021 17:38:59 GMT
Probably not under my current account. I might set up a new account with my real name and post using that, but I would likely be less active. But this is mostly because people search for me under my real name and I'm careful to monitor what gets shown (not because there is anything bad in either case).
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Post by Dr Tom on Oct 20, 2021 7:06:48 GMT
they wouldn't be doing a free performance for the real fans I'm sure this wasn't meant to be come across this way, but suggesting people who booked for the scheduled first performance many months in advance, planned this out carefully, paid the inflated prices, went through changes of reopening dates etc are not "real fans" could be taken with offense. Now, I know that almost all shows have an audience for their final dress rehearsal. That's nothing new. I personally wouldn't read "fan performance" and "dress rehearsal" as meaning the same thing. I can't attend the fan performance date regardless and I'm not the type who would want to post the personal response about why I need a free ticket on my social media, so I will be happy with my ticket to the first public performance. I am looking forward to this show. But whether it should or not, actions like this however well meaning they were intended to be, do leave a sour taste in the mouth.
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Post by Dr Tom on Oct 15, 2021 12:06:06 GMT
Excellent news, one of my favourites.
It will be interesting to see what they do with this as an entirely new production. Have there been any regional productions of Beautiful anywhere else in the world, or will this be the first one?
I believe the original production is still touring in the US (but it may well have gone non-equity).
Edit - Looks like the US tour is still Equity, just unusual it's doing single night stops at many venues.
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Post by Dr Tom on Oct 14, 2021 11:08:26 GMT
I went again last night thanks to a lottery win (i.e. the opportunity to buy a £25 seat). This ended up being in the centre of the 4th row Circle, which I think is a £95 seat most of the time.
Plenty of gaps in the Circle and a few in the Stalls but this did mean I could move across and get a free seat either side, which was nice.
The view is clear for the most part (not perfect when the stage rotates and you can't see the Cinderella entrance). There was a bored kid in the row behind who kept tapping the chair (not many children in thankfully as this really isn't a show aimed at them). I personally wouldn't sit there again as you are just too far away from the stage.
All the leads were on and sang well. Carrie, in particular, I think has really settled into the role.
This was apparently a cut show based on West End Understudies as I presume they were short of female ensemble, although I didn't spot anything obvious that was different.
I suspect this will last for the Christmas season but I don't know for how much longer. I've no immediate desire to go again, but I may perhaps if some Stalls lottery tickets or other offers appear.
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Post by Dr Tom on Oct 12, 2021 23:21:29 GMT
It was very good again tonight. Ran long though. I don't think most of the crowd had any idea it was Rachel's first performance (or even that the lead had changed).
I was very central in Row R. A clear view but further back than I'd like. There's a curtain immediately behind (presumably hiding the sound desk) which gets in the way a bit. I couldn't really tell much difference physically between Rachel and Sutton from where I was sat.
Rachel acted, sung and danced very well. If anything, she felt less forced than Sutton, which was a good thing. Lots of charm. Her voice did crack a bit though at the top end and it was noticeable during Blow, Gabriel Blow. To be fair, I did suspect that several cast members had a bug and were working through it. Rachel also looked rather tired at the end of the first half, but to be fair again, Anything Goes (the song) does wear me out just watching it, not performing in it!
Quite surprised that this didn't get any standing ovations during the show and only got a rather reluctant standing ovation at the end (hardly anyone until Rachel took her bow and then it got up to just over half the Stalls).
Robert Lindsay's ad-lib had changed to something like "you're new here, aren't you?"
Only other note is it's the third time I've seen the show and the first time I've seen Jack Wilcox on. Also the first time I haven't seen George Beet (I've seen two of his swing tracks), which is always a shame as he's great to watch.
I would certainly see Rachel again and you wouldn't be disappointed seeing her (or the show as a whole). And I definitely plan to see this at least once more before it closes.
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Post by Dr Tom on Oct 12, 2021 9:33:08 GMT
So just as I'm about to go to London and was planning on getting the day tickets through the website, they stop it. Bloody marvelous. TodayTix is doing Rush now, so there is still a route but the tickets go quickly. TKTs have discounted tickets available for tonight too (which you can book online or through the booth).
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Post by Dr Tom on Oct 12, 2021 9:03:57 GMT
Well I won rush today, the payment paused for about 30 seconds as usual, but then actually managed to complete. I can see a ticket in my account!
So I shall be there in Stalls Row R tonight to see Rachel York.
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Post by Dr Tom on Oct 10, 2021 12:05:58 GMT
Well, I thought it pretty terrible, it didn't perform well on Broadway and the songs are not well known over here (and not the right generation for the & Juliet crowd either).
I could see it getting a run in a fringe venue like so many shows, but I'd be surprised if a West End venue took a chance with it.
Hope Mill perhaps based on the subject matter (and if the licencing costs aren't prohibitive)?
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Post by Dr Tom on Oct 9, 2021 19:45:13 GMT
Good to see they’re keeping the swings busy!
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Post by Dr Tom on Oct 9, 2021 10:37:54 GMT
I’ve done three show days in both London and New York. Usually it’s where there’s a shorter 5pm show that fits nicely between a matinee and evening performance. One of the New York theatre festivals was really good for that.
I’ve also done the odd late evening performance and 11am show, but not yet gone for four (or five) shows in the same day, but I’m sure it’s possible.
Like others, I try and fit in as many shows as possible when I’m in New York. It’s nice to walk around but I’ve done all the touristy things. I try and book something for the day I arrive but it’s always a balancing act of flight times, prices, whether it’s better to fly to Philadelphia/Boston see the tours and go on to NYC etc. Then there’s trying to get a long weekend knowing there are matinees and I can minimise the days off work, versus the higher prices at the weekend and the lack of matinee choices during the week. And, I’m also very into using airline miles, hotel reward schemes etc to make short trips affordable and comfortable (hint, it is often worth travelling out via Dublin). So lots of considerations.
Not that this has been a problem recently. I’ll figure out the new world sooner or later.
Since I moved from the Midlands to London, it’s made the local options easier. But I do miss having easy access to the touring shows at the Birmingham Hippodrome and the Alexandra. Not that travel out of London is difficult, but it always seems less worthwhile to make the effort in the other direction.
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Post by Dr Tom on Oct 9, 2021 9:12:37 GMT
Looks like my payment has now been refunded so the curse of TodayTix strikes again.
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Post by Dr Tom on Oct 9, 2021 9:05:29 GMT
Well, I got Rush for Row R for the matinee right at 10am. Payment very slow but was taken from my card. Then an error message…
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Post by Dr Tom on Oct 8, 2021 9:10:34 GMT
Managed the rush this time around, Row R stalls, can’t wait to see this again! Well done. I thought I had my split second timing right today, but failed completely.
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Post by Dr Tom on Oct 2, 2021 12:55:15 GMT
Also, just because the system shows you one particular price, another potential customer could be logging on at the same time and see the same time listed at another price.
Caveat, not so common yet with theatre bookings, but you see this all the time with other industries.
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Post by Dr Tom on Oct 2, 2021 12:20:47 GMT
Do you have a song list from the show? Also is the show like how Tina is with the story about them and with songs telling the story or is it like how thriller was. Like a concert tribute show? Seeing this next Saturday matinee looking forward to it It's worth seeing. Yes, there is a story to it. Like most of this type of musical, there were people there who just wanted the hits and to sing along, but they're performed differently. My memory isn't good enough for a song list, but all the well-known songs were there (plus a few I didn't immediately recognise, but not many).
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Post by Dr Tom on Oct 2, 2021 10:00:07 GMT
Not too sure what to make of this one.
I did manage to get a late Rush ticket, tempted by the promise of front row Stalls. Unfortunately, I arrived at the theatre to find TodayTix had sold the seat several times over (again!) and was moved to side mid-Stalls, amongst a very interesting group of people.
It may have been a blessing in disguise, as there is a pre-show with a DJ/comedian in a booth who interacts with a lot of people at the front of the theatre. I think I must have a different sense of humour, so I am quite happy not to have been chosen to participate. They also take the unusual approach of introducing the cast members by (actor) name at the start.
The show itself is jukebox style, with a largely static set and actors representing Bob Marley at different ages. The songs are integrated well. You can really feel the speaker vibrations. A strong cast. It does feel like a high level overview of a man with a remarkable story. There is a difficult balance to strike between telling the story of a personally flawed individual, a political movement and maintaining a party atmosphere.
As I say, the audience was interesting. Lots of heckling, attempts at singing along, probably a record number of mobile phone beeps. Laughing at moments I just couldn't work out why they were funny (e.g. waving a gun around and threatening to shoot). An aside, one of my theatre hates are gunshots. There are lots in this production, but they are quiet recorded effects and should not cause any distress.
Most of the people around me were associated with the show in some form or another. I saw the producers nearer the front. A lot of people were moving between seats and sharing conversations and some were clearly famous (based on the reaction of other audience members), but I couldn't easily place them. I presume a group near me were relatives of Bob Marley but seeing this in finished form for the first time. Very mixed reactions as this is clearly a personal issue but I think there was general approval.
We had a show stop about an hour in, which people treated like a first interval. As with all the ongoing conversations throughout the show, I heard probably more than I should have done as an audience member which I won't disclose, but the lead role is a demanding one. Once people returned to their seats, we had a real interval a few minutes later (finish time was 10:30pm, which I suspect will become 10:15pm).
I must say, about 30 minutes in I thought I would never see want to see this again. By the end, I decided I would see this again, partly because I just didn't have the best experience to tke it all in (largely due to the unique atmosphere of people surrounding me but I do thank the theatre for still finding me a seat despite the TodayTix mess up), but also because I feel the show improved a lot as it went on. I do think this will be a hit.
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Post by Dr Tom on Sept 30, 2021 11:32:56 GMT
I did try Rush today and it just kept timing out. It is very hit and miss.
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Post by Dr Tom on Sept 29, 2021 8:57:01 GMT
The menu is many types of Bratwurst That is a lot of effort just to fit in a line about which member of the audience has the biggest sausage!
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Post by Dr Tom on Sept 26, 2021 20:26:37 GMT
Reporting back from today's closing performance (before this restarts next year).
A very receptive, but also very well behaved and polite audience. The lights must have been hotter than usual as several of the cast had watery eyes from the start.
A few little tweaks and touches to make it clear it was the last clothes. A lot of the pupils had stickers on their blazers. James Gillan saying "That was our story" instead of "That's our story" at the end to give a sense of closure. The drag queens all applauding each other instead of vying for attention. Noah kissing Hiba on the cheek at the end of the bedroom scene instead of blowing her a kiss.
Gillian Ford was on as Margaret and she sang her heart out, really getting the emotion across in both If I Met Myself Again and He's My Boy. Harriet Payne was on as Miss Hedge and Zahra Jones was on as Becca. It's a shame Melissa Jacques had to leave the production just before the closing performance, but you would never know this wasn't the regular line up which just shows how tight the cast is and everyone everyone did their bit.
Noah held it together remarkably well until My Man Your Boy, but he couldn't hold back the tears for the rest of the show and rearranged his lines in the final scene in a way that made very little sense, but no one cared. At the end of the show, he took off his shoes and left them on the stage (creating an Instagram ready moment).
I can't leave a closing review without mentioning how strong the entire cast is. Sejal Keshwala really gets the humour of Ray across. Hiba Elchikhe sings beautifully and you feel every bit of Pritti's vulnerability. And, although Luke Bayer will always be the Jamie I most remember, Noah has a special place in my heart, he sings well, looks right for the role and it's been a pleasure to watch him grow in experience and confidence since he started the role while he was still at Mountview. That is to say nothing about the other pupils who hold everything together (and constantly beat Marvyn at Rock-Paper-Scissors).
It must have been a really emotional day for Harriet Payne and James Gillan who have been with the show since the very first performance in Sheffield. And it was certainly emotional for the audience. When I left, there were still people on the front row crying uncontrollably, with one girl huddled on the floor against the stage. As the director said in his closing speech, this show means such a lot to so many people. I do hope it returns to the West End soon.
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Post by Dr Tom on Sept 25, 2021 23:02:25 GMT
Tonight, with the reopened fully staged production, it was, as far as I could make out, ‘here comes a prince, he’s nouveau riche, this one looks queer, I bet he likes quiche.’ And just WHAT? Why quiche? What on earth is going on here. That was the line when I saw it in the concert production a few weeks ago. It seemed odd to me then, but I did a search and found out they've been using the quiche line for a few years now. I've still no recollection of ever hearing it before, so I presume they must cycle the lines around in some manner.
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Post by Dr Tom on Sept 25, 2021 22:59:32 GMT
Jamie on Thursday was my final planned visit to a "normal" show. It didn't seem quite normal, but I had no idea it was Melissa Jacques last show until she was given flowers at the end. There was an instant standing ovation and extended applause for her too. Plus Jamie Campbell and family were in (with Jamie wearing a very impressive dress made up of the show poster image).
I was lucky enough to be front row centre.
I had young Chinese ladies either side, who seemed to have both come as individuals. Both wearing masks (as were most of the front row). But one of them was on her phone a lot of the show with the screen dimmed and took some very obvious photos holding her phone right up (neither lady was all that tall). The ushers did not seem to notice. Normally I would say something, but there wasn't a discreet opportunity. They were perfectly quiet.
Otherwise, the same cast were on as last time I saw this (despite what the website suggests). Everyone was excellent as usual.
Two bloopers.
Sejal Keshwala couldn't find her party blower in the birthday scene.
In the drag scene, the curtain came down on David O'Reilly, leaving him half in front of the curtain. It took him a while to get untangled.
Let's see what closing afternoon tomorrow brings. I'm not front row, but I did book early and got a prime seat. I'm sure it will be an emotional one!
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Post by Dr Tom on Sept 25, 2021 22:33:38 GMT
Closed off the season with an excellent show tonight.
My first experience on the grass bank. A bit of a risk, but it turned out to be dry and with an excellent view. I'm very glad I took a blanket and cushion with me. Lots of room too. You do get a bit dazzled by the light at some points.
Another great thing about the grass banks is you're a long way away from the chatters in the audience. The people around me were very good. A group of Italians in front, who had managed to take in a flask of (I presume) coffee, but sat enthralled, especially the cute male couple who went from cuddling to rigidity during the second half when they realised where the show was going.
The worst part of the noise was people outside the auditorium talking just by the grass bank, which I presume was completely unaware hospitality staff. Otherwise, the sound is great and you're right by the speakers.
Lots of clapping and cheering, but at polite levels, plus a full house standing ovation at the end. The band all came on to bow, which was a nice touch. Some of the ensemble were crying, but there were no speeches and it was business as usual as everyone was quickly ushered out.
Oh, and I used the cubicle immediately after an Irish west end star, but all I will report is he left it tidy! I'm sure there were plenty of actors in, but he was the only one I spotted.
This production did really grow on me, especially after they simplified and improved the ending. There are quite a few subtle places where they've found new meaning. It is still hurt by some of the cuts. But I do hope this version of the music can be used again, even if the production itself doesn't get to live on.
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Post by Dr Tom on Sept 23, 2021 16:25:45 GMT
It’s really split opinion on here hasn’t it? Most press reviews seemed to be four and three stars. I wonder if it might end up transferring? I've now seen this 3 1/2 times and it's gone through three different endings. I think the current one (which I presume is the one used with reviewers) is stronger and makes more sense than the earlier two. The current one is much simpler and the whole second half tighter. All of the cast in a circle as the stage rotates. The women turn slowly around to face the crowd. The men do not. Louise leaves the circle.
I would definitely like this to transfer. I do love the music. However, it has not been selling well (although, to be fair, you can say that about a lot of shows).
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Post by Dr Tom on Sept 23, 2021 16:21:14 GMT
The RAH don't really do deals either do they.... Individual promoters do deals (for shows that just happen to be hosted at the RAH). They aren't always widely available though. At those prices I will wait, especially as I already saw this at the Palace.
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Post by Dr Tom on Sept 22, 2021 9:21:13 GMT
Attended this in Woking yesterday. Front row, but you are a long way back from the stage due to the wide orchestra pit (possibly intentionally too due to how they stage the magical effects).
I was impressed. I'm sure I must have seen the film, but I really can't remember it.
It is really a series of scenes, each visually impressive. Lots of magic tricks. The flying is done well within all the limitations of a touring set (I could see the mechanism with the broomstick, but not with the bed although I assume it's the same). They used some depth perception techniques to disguise how everything worked.
Loved the use of puppets as well.
Great to see Conor O’Hara in the lead role, having seen him during his Mountview days. He was an excellent Charlie. Dianne Pilkington and Charles Brunton are perfect for their roles too. And we had two perfectly cast younger children, who were on the stage for almost the entire show.
I would certainly see this again, but I think this would struggle a bit in the West End. Despite the special effects, it is still quite a small show. You really want to sit close to see a lot of the puppets and the small scale magic. And it isn't anywhere near as known for young children as Mary Poppins (as attested by the child sat behind me who kept loudly asking his father questions). But it could work in a smaller theatre which still has space for the set.
If you do want to see this, the theatre in Woking is very pleasant and this is an easy railway journey from London (the theatre is near the station, services run until late and the evening return to London is about £14 without a railcard).
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Post by Dr Tom on Sept 21, 2021 9:58:10 GMT
Bradley Judge was at Carousel last night (I spotted him on the way out). I think he was with some other actors but I didn’t get chance to work out who they were.
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Post by Dr Tom on Sept 21, 2021 9:04:11 GMT
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Post by Dr Tom on Sept 19, 2021 12:12:19 GMT
I agree that the character of Miss Hedge still needs work, I haven't seen the film yet (and don't intend to until the London staging closes/pauses next week), but from my experience working in education I think the Miss Hedge portrayal accurately captures how much your hands are tied in these situations. Most teachers are incredibly supportive of their pupils and they'll do what they can to help them, especially those who are struggling, suffering at home, even disruptive. If you've ever see the "Educating..." series of Channel 4, you'll see teachers trying everything they can to avoid traditional punishments, even putting opportunities in place for pupils who you might considerer not too be deserving of them. At the same time, teachers are incredibly tied down by school rules, upper management decisions, national policy, school Governors and the views of parents. Parents can very easily make it impossible for teachers to stay working in a particular school. And teachers themselves have their own pressures. It is far from an easy job. You see this briefly in the stage show when Miss Hedge's romantic life is presented. Now, the Miss Hedge character isn't very realistic, in that it's highly unlikely the same person will be teaching careers, running the exam scheduling and also holding a leadership role to meet with parents. But those are presumably necessary economies within a stage production. From my own experience (in higher education), I couldn't count the number of times I've been forced to present rules and regulations that are policies that I don't personally agree with. But that is part-and-parcel of the job and the correct way to change things isn't usually just to ignore things. Teachers have even less freedom that I do. School uniform rules should be inclusive of gender diversity. At the same time, pupils shouldn't be looking for a loophole to allow them to ignore the rules (or, in Jamie's case, to wear make up to school). This is one of my favourite shows. I'm glad Jamie is able to wear the dress to the prom in the show and I'm glad the real life Jamie is having some success with his life. There's been a lot of positive change across the sector in recent years to recognise the importance of individuality. But there are also still non-secular schools out there and schools where different genders are not allowed to integrate. The way Miss Hedge takes a stand against the system at the end of the show is an important moment, showing her risking her own career to do what is right.
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Post by Dr Tom on Sept 19, 2021 11:52:04 GMT
Why? This production is set in modern day UK and thankfully people now feel much comfortable living in the way you describe I thought it was set in 1950s? Although I suspect that you would not see diversity of the type on stage in the NE England of that time period. That isn't a criticism, as I doubt you have seen many whalers in the docks, or a whole load of local island with claims either. It is good to see the wealth of people across our nation represented. I suspect casting a non-binary actor as Mrs Mullin is designed to make you question Billy's own sexuality, why he has chosen to conform and if he can ever be happy in a traditional marriage to a woman (hence his later rage and the amendments to the second half of the show). But I could be reading too much into this...
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Post by Dr Tom on Sept 17, 2021 22:24:02 GMT
Perfect show tonight again for my final visit. Isaac is my favourite Angel I’ve ever seen live. They really got the emotion over and sounded fabulous too (to be fair, I only have Alex, also very good, plus Layton, who has a fan base, to compare to).
Shocked at how few people in Manchester are willing to wear a mask. Getting off a train where most people in the carriage were masked, then going to a tightly packed theatre with practically no one wearing one (and with not even a verbal hint made to the audience that they should wear a face covering) was a shock. And this is for a show about the consequences of a horrific and deadly disease…
Excellent view and sound from the front row again. This ran long today, not finishing until 22:20.
A shout out to all the cast really. They haven’t added anyone to replace Isaac, but their lines were covered by the remaining ensemble. Joe Foster got the role of Gordon that always tears me up.
This could very easily transfer but unfortunately would be without the fantastic Dom Hartley-Harris (congratulations to Dom for the Dreamgirls role). I have been a fan of Jocasta Almgill since In The Heights and she excels here. But there isn’t a weak link in the cast.
I have to head back to London in the morning, but if anyone is lucky enough to be attending the remaining performances, please do report back. Wishing everyone involved a great final three.
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