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Post by d'James on Mar 28, 2024 23:14:09 GMT
Really enjoyed this today. Would love a cast recording.
If it transferred to the West End, a smaller house like The Vaudeville would be good.
The acoustic version of Touched By An Angel; who sang that? Was it someone from the band?
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Post by d'James on Mar 28, 2024 22:13:17 GMT
I see what you mean, but I think trying to be ‘modern’ is where it can fall apart. The original UK Tour (and prior to that the 03-04 US Tour) had A Whole Lotta Locomotion (and other David Yazbek additions) put in. Apart from A Whole Lotta Locomotion they were all removed. That song stuck out like a sore thumb because it was trying to be like Destiny’s Child or something. When it was remixed for the 2012-13 UK Tour, it had a much more retro feel and fit in much better. A lot of the songs had been made really 80s (AC/DC for example) and it all flowed together really well. I hope they do make it all work and that ALW lets the producers/writers/whoever have access to the full back catalogue of songs so that they can choose what they feel is best, rather than insisting on ‘I Do’ and ‘I Got Me’ overkill. That’s one of the reasons I think The Other Palace ‘workshop’ was misleading. Apart from Right Place, Right Time, I don’t think there were many changes between any of the shows. Why didn’t they try all of the ballad duets/all of the girls’ introduction songs and see which was most popular/worked best. I’d say a full-out retro score would work better than trying to sound modern. If they cut Rolling Stock/Freight/Pumping Iron/AC/DC/U.N.C.O.U.P.L.E.D. and any other song but keep the title song, should it be allowed to be called Starlight Express or should it be a sequel?! You're so right the whole "workshop" thing was hilarious. All 5 shows, other than the one that randomly had RPRT in it were identical. And don't get me started on the audience feedback forms they were allegedly reading. The place was full of mega fans, pretty attached to the original and we were all writing things like "please bring Girl's Rolling Stock back" all of which went fully ignored. When it launched in Bochum it was expanded yes, but in song structure, position and selection, completely unchanged. That said, the atmosphere at those Other Palace shows was amazing and the band sounded absolutely incredible blasting through that small space. I could go on about the changes forever. Agree Whole Lotta as a wanna be R&B number did stick out like a sore thumb. But then in the second tour and Bochum I really rather liked it. Not sure how much of my original reticence was due to how much I missed A Lotta. I Got Me am not a massive fan of and it now makes me miss Whole Lotta. I Do I actually quite like. In the 25th Bochum version the staging was fab though it's pretty bland now sadly which I think undermines the song a bit. I definitely prefer it to Next Time You Fall In Love. I did love Only He/You though. Funnily enough my fave version of that is the cheesy Yazbeck version of the first tours. At least the melody survives in the show currently in I Am The Starlight. Like said before, I think every fan could pick their fave elements from all the versions and construct their own show! I like I Do as a love song. It just doesn’t really have any relation to the story. I love the UK Tour version of Only You, too.
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Post by d'James on Mar 28, 2024 10:32:18 GMT
I'm with d'James here. A FEW changes and re-workings are certainly okay, but there's a limit to that, I think. People return to existing shows (when they are being revived) to hear songs they loved before and want to love again. Would you go and see Evita if songs like "Don't cry for me Argentina" and "Oh What a Circus" are missing? At least when ALW sort of re-launched the show in 1992, he called it The New Starlight Express. Now... people have been buying tickets under the assumption they're seeing something that resembles the show they remember and love. Yes. The poster literally says ‘The Legend Is Back.’
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Post by d'James on Mar 28, 2024 9:31:48 GMT
General question: How far can a show be changed and get away with c being called the same name? I think Starlight is a special case as it is very much a product of pop culture. If it doesn't reflex current tastes, it doesn't work so it has to have pretty robust overhauls to stay relevant. It's had changes ever since the 80s so I don't think there is or will ever be a definitive version - just a continuous evolution of roughly the same ingredients under the banner of "Starlight Express". Equally, for those new audiences, this will be their "original" Starlight Express that will be "messed about with" in years to come(!) I see what you mean, but I think trying to be ‘modern’ is where it can fall apart. The original UK Tour (and prior to that the 03-04 US Tour) had A Whole Lotta Locomotion (and other David Yazbek additions) put in. Apart from A Whole Lotta Locomotion they were all removed. That song stuck out like a sore thumb because it was trying to be like Destiny’s Child or something. When it was remixed for the 2012-13 UK Tour, it had a much more retro feel and fit in much better. A lot of the songs had been made really 80s (AC/DC for example) and it all flowed together really well. I hope they do make it all work and that ALW lets the producers/writers/whoever have access to the full back catalogue of songs so that they can choose what they feel is best, rather than insisting on ‘I Do’ and ‘I Got Me’ overkill. That’s one of the reasons I think The Other Palace ‘workshop’ was misleading. Apart from Right Place, Right Time, I don’t think there were many changes between any of the shows. Why didn’t they try all of the ballad duets/all of the girls’ introduction songs and see which was most popular/worked best. I’d say a full-out retro score would work better than trying to sound modern. If they cut Rolling Stock/Freight/Pumping Iron/AC/DC/U.N.C.O.U.P.L.E.D. and any other song but keep the title song, should it be allowed to be called Starlight Express or should it be a sequel?!
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Post by d'James on Mar 27, 2024 23:23:32 GMT
Someone needs to keep ALW the hell away from managing this cast. Young, all over social media (one of Jeevan Braich's has 6 million views), tik tok'ing showing sass that's sometimes roleplay sometimes real - all stuff that 'Cinderella' showed he doesn't begin to understand. Of course, that's partly the reason the cast are so young. As you say, Webber is trying to do a "Six" again (like he failed with Cinderella but desperately wanted) by making the show hit on social media and highlighting those young performers teens will naturally start to follow and make "stars". It's not a surprise that Jade Marvin has been brought in with her past in Six as that's the demograph they clearly want for this revival. That's also what happened to her after all. They have also employed the same casting company as Six so they know the type they need. These performers will be relatable to the intended audience of young adults and also have the social media savviness to give the show free publicity as is already starting to happen. All the cast, I imagine, won't be doing all shows and some will be alternating tracks which I imagine the show might use to it's advantage. It reminds me of the hype Six fans have for seeing that show's alternate wives or the same for Mincemeat cast bingo (which is again the same casting company). Certainly creates repeat visits which this show is going to need out of school holidays - collect them all! Sorry original production Starlight fans, I've got a feeling this one's not intended for you guys necessarily! As I say, I don’t mind about character changes, I’m really looking forward to the new costumes I just want good singing and dancing (which not all of the Six videos I’ve seen have been). General question: How far can a show be changed and get away with being called the same name?
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Post by d'James on Mar 27, 2024 21:36:33 GMT
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Post by d'James on Mar 27, 2024 20:22:52 GMT
Re. the rumoured skills beyond just skates in this version: I'm always impressed to see young people zipping about in a sporty way on electric scooters - until I remind myself that they're just standing, and me walking is more impressive. On that basis, I'll happily take an e-scooter role in this; loop the loop stunts I'll work on. Are e-scooters a rumour? I read about bikes…
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Post by d'James on Mar 27, 2024 19:36:45 GMT
I have no problem with not knowing any of the names in the cast. To get into any school/training these days, you already have to have a lot of talent, skill and experience and they then refine and polish that and send you on your way. These people have already been performing for years, now they're just being paid to do it. These are the names of the future. They're young, keen, energetic and wanting to do their best every night. Though doing 8 or 9 shows a week is a different matter entirely.
I think I read that the OLC of Starlight only ever performed a handful of performances with the full named cast, before swings and understudies started going on. I expect the same to happen here. Hey, at least we won't get the 'so and so performers wasn't on and they didn't tell me in advance, I want my money back, posts. And honestly, any West End 'name' wouldn't go near this because they already know how hard it is to do, and thats before you add roller skates into the mix. Who had heard of Frances Ruffelle before then? Stephanie Lawrence was only a theatre name because she was a take over Evita and had been in the massive flop 'Marilyn' I don't mind a female Greaseball either. It makes me think of the famous image 'we can do it' Who knows what the story will be between Greaseball and Dinah, if that even still exists. No doubt people will say that the show is shoving the gay agenda down their throats or that the show has gone 'woke' but the only people who use woke are insecure, fragile white people who don't give a damn about anyone but themselves.
I've got tickets for the 2nd performance and i'm excited to see it!
I just want the remaining songs to be kept (they’ve already removed some faves). Character names can easily be fitted in to existing songs.
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Post by d'James on Mar 27, 2024 14:56:05 GMT
Where are you seeing these? Cast members have been sharing some of the roles they are playing on their individual Instagram pages, one gal shared that she's covering Greaseball, Belle and ... Slick Oil (not Oil Slick, though that hardly makes it better). Some other new names are Grey Wolf, Orange Flash and Blue Horizon, which I assume are new names for the engines? And one guy plays Tassita the Quiet Car. Oh wow. I guess it is time to move on from the country’s stereotyping. Tassita was in The Other Palace ‘workshop.’ Interesting they’re back. It didn’t really work with her (at the time) bursting into song every now and then, when they’re meant to be quiet.
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Post by d'James on Mar 27, 2024 14:08:07 GMT
I am still boggling at new names like "Oil Slick" Where are you seeing these?
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Post by d'James on Mar 27, 2024 10:02:52 GMT
says it's the professional debut for most of them, at least the leads (which I clicked on). Wonder why only the leads are named with roles but not all the minor roles like Buffy/Belle, Ashley/Carrie (whatever the latest names are), C.B./Caboose, Dustin, the Rockies... Maybe they haven’t finalised all the roles yet. I hope they get Greaseball right. Interesting that they didn’t go for the more obvious choice of gender-swapping Electra.
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Post by d'James on Mar 26, 2024 23:51:07 GMT
The fandom seem absolutely convinced Millie O'Connell is (a female) Greaseball! (Could just be a rumour that got totally out of hand lol - I suspect it may well be but stranger things have happened....) I want Millie to stay away from Starlight. Also I don't think they will make Greaseball female tbh. Yes. I’m not a fan. I could see Greaseball working as a woman with the right changes, but I’m not sure they’ll make the right changes…
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Post by d'James on Mar 23, 2024 14:24:46 GMT
I remember loving the original London production. I can't point out everything that is different about the new production but overall it felt like a different show. I have mentioned this before but it still annoys me; in this production in raise your voice, both Lizzie Bea and Eloise Runnette sing a note that sounds horrible, in my opinion. It isn't the "Tu Solus Dominus! Tu Solus Altissimus! Iesu Christe In Gloria Dei Patris" part, both ladies sang that beautifully. However, shortly after this, Sister Mary Robert sings "Raise it UPPPPPPPPPPPPP" and the way both Lizzie and Eloise sing it sounds quite harsh and doesn't sound anything like the way Katie Rowley Jones or any of the Broadway/US tours actresses sang it. At first I thought it might have just been Lizzie but Eloise sings it the exact same way, so it's possible it might not have been their decision. I know it is a very small complaint but it really doesn't sound as good as how it was done originally. I totally agree. It doesn’t have the same impact at all. The best Mary Bobs I’ve seen were one of the understudies in London, whose name escapes me and Julie Atherton.
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Post by d'James on Mar 22, 2024 19:57:18 GMT
Ruth Jones does fit this version of Mother Superior well you're right - I just prefer the old one in the original Palladium run and the first UK tour. The film has real heart, and so did the original show in London - I just feel like all of that has been lost in this new version, but I guess is made up for in camp fun. I get what you mean. Some of the changes were a bit unnecessary (It’s Good To Be A Nun is alright but I do agree that it removes a lot of context to Mary Robert’s backstory) but I do think some of the changes was needed, like Here Within These Walls (Reprise) being replaced by I Haven’t Got A Prayer. Not sure. The connection between Deloris and Mother Superior was strengthened by the way the reprise of Here Within These Walls was staged.
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Post by d'James on Mar 22, 2024 13:19:20 GMT
I saw it loads of times in London, too. The new song instead of How I Got The Calling doesn’t work as well. Some things are tighter, some less. Cynthia Erivo was fab in the role. Beverley Knight is good if you like her style of singing. I saw it at the Eventim Apollo a year and a half ago and it got a bit lost on that stage. I wonder if the Dominion is better. I’d love to see it in a smaller house. Do the nuns have more costumes changes this time? I really missed that from the Palladium/first UK Tour. I doubt they have. But in my opinion I don’t think it’s a huge loss. I did think the costume changes were brilliant but I think it still works without them. I definitely think it’s hilarious in the ending when the nuns go from their basic black habits to rainbow sequin habits (although I do understand people thinking that they go a bit too far with that part, especially because they’re so bright when you see the show). In the incarnations I mentioned it added extra anticipation for every number the nuns performed.
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Post by d'James on Mar 22, 2024 13:10:50 GMT
I must have seen the original Palladium show upwards of 10 times back in the day, I absolutely fell in love with the show and Patina Miller! Have never bothered to check out any of the subsequent tours, and by the sounds of the changes I don't feel too tempted to see this. I saw it loads of times in London, too. The new song instead of How I Got The Calling doesn’t work as well. Some things are tighter, some less. Cynthia Erivo was fab in the role. Beverley Knight is good if you like her style of singing. I saw it at the Eventim Apollo a year and a half ago and it got a bit lost on that stage. I wonder if the Dominion is better. I’d love to see it in a smaller house. Do the nuns have more costumes changes this time? I really missed that from the Palladium/first UK Tour.
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Post by d'James on Mar 22, 2024 12:33:00 GMT
You may want to search for “Beverley Knight Fabulous Baby” on your music platform today (e.g. iTunes or Spotify). The intro sounds like it was played on a Casio keyboard. lol.
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Post by d'James on Mar 16, 2024 17:26:55 GMT
Hopefully this fits into the topic and is deemed to be acceptable. Do actors receive sick pay if they are not able to perform (either the odd performance or slightly longer term)? I’ve always wondered this, too.
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Post by d'James on Mar 13, 2024 20:10:01 GMT
I love the Milton Keynes Theatre. It tends to be the modern ones that are best designed for today's needs, although some refurbished theatre have done a great job In a similar vein, The Waterside theatre in Aylesbury is also a delight to visit. Modern, well laid out, and good views and legroom from all seats. I actually just remembered the Aylesbury Theatre. That was great, too.
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Post by d'James on Mar 13, 2024 19:14:53 GMT
Can anyone provide a short synopsis of what the musical is about? Spoilers follow. . . A middle-aged actress, Myrtle, is worried about being typecast as old, and wants her part in a new play, "The Second Woman," to be rewritten to focus on her uniqueness rather than aging. Outside the theatre, a 17 year old fan tells her how much she loves her, but is run over by a car. Now, Myrtle has a guilt-ridden breakdown where she starts seeing the 17 year old everywhere, who taunts her about her age. There is zero narrative thrust as everyone around her worries about what will happen to the play if Myrtle can't perform. The dead girl sits around giggling and tormenting Myrtle. Myrtle deals with the dead girl and performs opening night. Everyone else is pleased that they got through one night, but god knows what happens next. . . It's basically the story of this musical, in which Sheridan Smith has to go to places that must hurt, and noone knows what will happen after opening night. 😬 The principal idea is that creativity eats a hole in everyone involved, and everyone involved could die a creative death at any time, but creatives love the buzz so much that they will always return to the flame to be burned again. Again, its the meta-story of what is happening right now to all the creatives on this show. Honestly, this is all so bonkers. Cassavetes is not adaptable for a West End show unless you have the creative madness depicted in this show. For the above reasons, I think attending the Opening Night of this will be a legendary theatrical meta-moment to dine out on forever lol! I'm so tempted to book to see it, just so I can say I've seen it. I have no desire to otherwise.
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Post by d'James on Mar 13, 2024 19:06:28 GMT
Big fan of the Bridge, doesn't seem to be any bad seats there and best theatre toilets in London! Really? The toilets seems to cause much confusion when I was there. I love the Milton Keynes Theatre. It tends to be the modern ones that are best designed for today's needs, although some refurbished theatre have done a great job. I quite like The Other Palace. I'm sure there are more that will come to me.
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Post by d'James on Mar 9, 2024 19:00:33 GMT
Does anyone know if they’ll be doing rush tickets? I know it’s far in advance.
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Post by d'James on Feb 1, 2024 18:17:38 GMT
Would Wendi be the first ever 'celeb' Mother Superior in Sister Act that can actually SING? I thought Denise Black had a nice voice. Is Sue Cleaver not doing it now, or is this for different dates?
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Post by d'James on Jan 23, 2024 22:35:49 GMT
I ordered the CD for this years ago and it never arrived :-(
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Post by d'James on Jan 23, 2024 22:34:48 GMT
All of us Strangers I predicted would do well at BAFTA but be snubbed by OScars as its British and indie. Saltburn just isn't as clever as Emerald Fennell seems to think it is - the acting categories are stacked though but I wouldn't have been mad if Pike had been nominated Yeah Saltburn is way overrated. I think there’s just a lot of *now*people involved.
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Post by d'James on Dec 17, 2023 22:32:15 GMT
I was hoping Linzi Hateley was going to sing it as she was there, but still a very good performance.
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Post by d'James on Dec 15, 2023 1:09:51 GMT
Well, haven't you hit the nail on the head there. The operative word being 'actor.' Actresses on the other hand... (I know, actor can be for everyone, I'm just using it to make a point.) There's a fair amount of actresses and female celebrities out there whose mugshots have graced the pages of the tabloids yet all has been forgotten not too long after. Heck even Martha Stewart bounced back! And Winona Ryder popped back up after a couple of years from her shoplifting arrest. I seem to recall Lindsay Lohan being a bit of a wild child too... You really think people have forgotten about the three you mentioned? I know nothing about Martha Stewart, but the other two are really nowhere near recovered career-wise.
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Post by d'James on Dec 14, 2023 18:49:26 GMT
A criminal record would end the majority of people's career, irrespective of their talent. Hopefully she's thanking her lucky starts that she can continue in any capacity but I doubt it. Would it? In Hollywood a criminal record seems to be part of many an actor's CV... Those whose careers "ended" were usually in a career decline anyway, and even then they often pop back up a decade or so later with a new image and a new TV show. Her crime was very white-collar by Hollywood standards. That being said, I'm am always a bit surprised to see big names playing smaller venues outside the West End, but I like it. I mean don't we currently have Woody Harrelson at Riverside Studios? Well, haven't you hit the nail on the head there. The operative word being 'actor.' Actresses on the other hand... (I know, actor can be for everyone, I'm just using it to make a point.)
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Post by d'James on Nov 18, 2023 0:54:25 GMT
That was horrendous. It was like the worst drunk family karaoke wedding - then again, maybe that’s the idea.
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Post by d'James on Nov 12, 2023 2:35:08 GMT
I disagree. I think Saunders isn’t a good actor. She cant play anything that’s not her own invention. She’s a very good mimic though. French is a bit better but not much. It’s always Dawn isn’t it? I saw them tour as a comedy duo several years ago and it was embarrassingly bad. Literally gags being put out and no reaction from the audience. It was embarrassing and totally cringe but when the end came the audience stood up as if they were goddesses. The strength of reputation presumably. Baffling. What is this post I relation to?
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