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Post by firefingers on Oct 8, 2016 14:36:39 GMT
TodayTix sells rush tickets for 20£... does anybody know where they are allocated? I hope it's not the horrible front row, the stage is too high I suspect they will be odds and ends throughout the auditorium as opposed to a set batch. Anyone off to first preview this evening? I'm apprehensive about this production possibly being a hot mess (actor muso of that score doesn't sound do-able to me) but hope to be proved wrong.
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Post by Deleted on Oct 8, 2016 17:20:53 GMT
Anyone off to first preview this evening? I'm apprehensive about this production possibly being a hot mess (actor muso of that score doesn't sound do-able to me) but hope to be proved wrong. Thom Southerland is directing this, so it should be good.
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Post by couldileaveyou on Oct 10, 2016 9:03:06 GMT
I checked the position of rush seats and they're in row D... sounds nice!
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Post by couldileaveyou on Oct 12, 2016 17:29:38 GMT
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Post by boybooshka on Oct 12, 2016 18:08:11 GMT
Watched the matinee of this today, totally new to the show. For the first forty five minutes or so I felt myself falling in love with it, but then that levelled out to liking it a lot. Excellent production, really liked the cast and the staging was atmospheric and sometimes quite witty. I felt like the actor/ musician thing worked really well but can imagine that beautiful score would sound amazing with a bigger band.
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Post by Deleted on Oct 12, 2016 21:45:20 GMT
Oooo wow, the set looks really cool! I always marvel at how this tiny theatre does some great sets! Looks simple yet effective! As for the show itself, I have never heard or seen anything to do with it but after having the same history with Show Boat and walking away amazed I may give this one a go.
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Post by Deleted on Oct 12, 2016 22:32:30 GMT
It looks pretty awesome for such a small theatre
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Post by Deleted on Oct 13, 2016 19:30:26 GMT
The 2 tiered set looks like the set for Titanic, but in wood!
I'm going Saturday night and looking forward to seeing how well the actor/muso thing works.
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Post by David J on Oct 15, 2016 18:08:17 GMT
I really enjoyed this
I don't think Earl Carpenter is wasted here. This isn't a star vehicle but an ensemble musical at heart and nearly every performer gave a first class performance
I too have reservations about the actor/musician concept but it works. Like the last Fiddler on the Roof tour there's a sense of community and togetherness at times as the actors sing and play the music. This is Ragtime after all.
It would be a pleasure to hear the music with a full orchestra but it is still astounding to listen to here
The musical keeps moving along as we jumps between all these different characters. Something I'd usually have issues with but apart from a few plot details going over my head it all worked
It has everything. Light hearted, fun, perhaps a bit saccharine at times, but sincere and it never holds back with the bleaker moments.
The only complaint I'd have is that the first act feels long. Just when it feels like it's ready for an interval it keeps on going. Then again I might not have minded if Charing Cross Theatre installs an air conditioning system
You'd think the theatre is on fire with all the smoke emanating from the theatre. It's as if the smoke machines are on overload. That underpass is going to be very misty for the next couple of weeks
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Post by couldileaveyou on Oct 15, 2016 18:11:27 GMT
I went to see the matinee and here there are some thoughts.
I'm not a fan of the actor-musician concept (there is nothing I hate more than Doyle's Sweeney Todd), but I think it works nicely here. Yes, I miss the huge, lush orchestration (and orchestra!) of the OBC, but I didn't mind it too much while I was watching the show.
Thom Southerland's direction is pretty good, even if every now and then he tends to "over-stage" some scenes, like Back to Before (it's staged quite similarly to how he staged "Another Winter is a Summer Town" in Grey Gardens). Love the set, it's simple and immaginative.
Anita Louise Combe is a terrific Mother and brings down the house with her stunning "Back to Before". Gary Tushaw's a very warm Tateh and, even if he reads a bit too young when you compare him to ALC's Mother, he delivers a beautiful performance. Jenniver Saayeng (Sarah) was a true revelation for me, she has probably the best voice in the cast, it's a shame she doesn't have much to sing! Seyi Omooba has an incredible voice as well, she sings the hell out of "Till We Reach That Day".
Earl Carpenter, Nolan Frederick and Jonathan Stewart are all good. Ako Mitchell is not the finest singer in the world and he surely isn't Brian Stokes Mitchell's heir, but his Coalhouse is still serviceable. Joanna Hickman could have more fun (and sing the bloody notes, wheeee!) as Evelyn Nesbitt. Valerie Cutko's Emma Goldman was an embarassment - at first I was mad when I read they cut "He Wanted To Say", but then I realized why they did.
Very receptive audience, huge applause at the end of act one, applause when the actors came back for act two and standing ovation at the end. Personally, I liked it A LOT. It's a beautiful, touching and effective production... I can't wait to see it again!
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Post by Deleted on Oct 15, 2016 22:43:47 GMT
Random thoughts.... I cant decide if it was good, or just ok. Act 1 definitely works better than act 2. The actor musician thing didnt really add a huge amount to it, except crowd the stage too much during smaller moments in the show and there's a glockenspiel to the right of the stage that is totally pointless and it made me laugh anytime someone used it to play all of 3 notes that you cant hear.
Anita Louise Combe is definitely the standout here and as mentioned her Back To Before was the highlight of the show. Ako Mitchell is miscast, hes not stong enough in any area and his costume is all wrong. The Wheels of a Dream failed to make the impact it should. I liked the actress playing Evelyn Mitchell alot. Unfortunately Emma Goldman looks like a man is playing her...
People around me leapt to their feet at the end. I wont be going back again, but i'm glad to see Death Takes A Holiday is now on in the new year.
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Post by lonlad on Oct 15, 2016 23:11:50 GMT
Saw it tonight and thought it was largely wonderful --- Valerie Cutko (referenced in the above post: she plays Emma Goldman) does have a sort of man-in-drag look but she's always had that vibe and it certainly is distinctive. The acting in the show is very strong, especially Tushaw, who is unbelievably touching, and the Evelyn Nesbit, who is quietly brilliant. Earl Carpenter nothing special but the production around him is, and I welcomed a change from the Garth Drabinsky-inspired Broadway overkill.
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Post by dgjbear on Oct 17, 2016 11:36:16 GMT
I thought the person playing Emma Goldman was Trans! Went on Saturday with my sister who's never seen it but loves the OBC recording (I saw it in NYC when it first opened). We were in the front row which is hard work as the stage is quite high. Was a bit worried about the actor/muso thing but thought it worked well here. Thought the direction was terrific - though the realisation of the car didn't really work. The cast was great - though thought the guy playing Coalhouse was a better actor than singer - and the role really demands a belter. Incredible how they did it in that tiny space and hats off to all. At the end its one of the few times recently where ive been in a theatre and everyone was standing and applauding.
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Post by kenneth on Oct 17, 2016 23:07:47 GMT
Oooo wow, the set looks really cool! I always marvel at how this tiny theatre does some great sets! Because they barely pay the actors
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Post by Deleted on Oct 18, 2016 7:59:37 GMT
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Post by musicalfloozie on Oct 18, 2016 8:56:24 GMT
Ended up getting a 3 day London trip next week so have just booked tickets for this, really hoping I enjoy as much as I did Titanic. Only £32.50 so not a complete loss if I don't get blown away! Now to plan a few other bits whilst other half has to work!
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Post by Deleted on Oct 18, 2016 11:02:05 GMT
Since when has Ragtime been neglected or problematic??
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Post by viserys on Oct 18, 2016 11:50:41 GMT
Well thanks for that. I was close to tearing my ticket up as I just can't get into the recording/story/anything. Based on the comments here and even Daddy Shenton's review, I guess I'll go after all
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Post by barelyathletic on Oct 18, 2016 14:06:37 GMT
Was at press night last night - oh, you forget how lovely a "professional audience" is, so quiet and attentive! Anyway... I did a total 180 degree turn on my opinion of the show itself. I actively hated the 2012 Regent's Park version and decried the entire thing as pointless, a story not even worth telling. This, I was on my feet at the end and posted a "five star rave" on my site. I finally "got" what mallardo talks about. It's the epic social history of 1900s American people, by the people. This BYOB (Bring your own Bassoon) version really works as the musicians aid the "let's do it" American attitude. Some amazing performances, too. Really, do not miss this. Very excited about seeing this now on the 19. I'm hearing and reading so many positive responses to this production. Couldn't bear to see it ruined again. I thought the terrible Regent's Park production had killed Ragtime off, so thank you Thom Southerland, for giving the show the respect and, it seems , the production it deserves.
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Post by mallardo on Oct 18, 2016 14:59:18 GMT
Yes, it's heartening to see the greatness of this show being acknowledged - especially now. In this awful time of rampant xenophobia and racism (in the US especially) it's exactly what we need to see.
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Post by dgjbear on Oct 19, 2016 11:42:36 GMT
Which cast recording is the one worth buying, as there seem to several? Original Broadway Cast recording is the best
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Post by mallardo on Oct 19, 2016 11:44:43 GMT
The Broadway OCR is the one to have. There is an earlier recording with basically the same cast - I think the Emma Goldman is different - that was recorded in Toronto (where it premiered) before it went to Broadway and it's of some interest because it contains a song that was later cut - a duet for Evelyn Nesbitt and Harry Houdini.
Is there a Broadway Revival cast recording? If so I haven't heard it.
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Post by viserys on Oct 19, 2016 14:33:44 GMT
The Broadway OCR is the one to have. There is an earlier recording with basically the same cast - I think the Emma Goldman is different - that was recorded in Toronto (where it premiered) before it went to Broadway and it's of some interest because it contains a song that was later cut - a duet for Evelyn Nesbitt and Harry Houdini. Is there a Broadway Revival cast recording? If so I haven't heard it. Yes, there is one from 2009 with Highlights. I much prefer it since I can't deal with Audra McDonald's overwrought shouting on the OBC.
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Post by wickedgrin on Oct 19, 2016 15:11:44 GMT
Tempted to book for this after the positive reviews on here but I saw the Piccadilly Theatre production and didn't like it at all. So I was reluctant to sit through the show again. Clearly the problem was more with the production than the show itself?
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Post by Deleted on Oct 19, 2016 15:20:00 GMT
I think the ES 2 star review is being generous
It's like being slapped in the face by a civil rights movement
Too much of it is repetitive
The staging is generic low budget musical fayre
The singing borders on shouting
What a waste of a massive cast
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Post by Deleted on Oct 19, 2016 15:24:33 GMT
PS
Left just now at the interval
Unbearable
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Post by Deleted on Oct 19, 2016 15:46:35 GMT
The Standard review is a little harsh but I do agree with some of it. It's definitely too busy and the band can overpower the voices but it's certainly not a gruelling night at the theatre!
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Post by Deleted on Oct 19, 2016 16:09:30 GMT
Clearly the problem was more with the production than the show itself? Going by your experience, mine, and others on here, it does seem that the production really matters, yes, wickedgrin. Thanks dgjbear and mallardo for the advice, will do. So it's the 1998 cast CD with the Statue of Liberty on the front, right? Yes the OBCR has the Statue Of Liberty on the cover and is 2 cd's.
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Post by Phantom of London on Oct 19, 2016 20:36:05 GMT
The Standard review is a little harsh but I do agree with some of it. It's definitely too busy and the band can overpower the voices but it's certainly not a gruelling night at the theatre! That's the Evening Standard and Fiona Mountford for you. She seems to bey very dismissive and condescing to small productions and over generous to the big budget musicals. But then again I suppose it is all those adverts that pay for the paper.
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Post by Mr Wallacio on Oct 19, 2016 22:38:12 GMT
Looking forward to getting to see this during one of my upcoming trips. Even moreso after hearing from my friend that her son is friends with the MD of the show (so now I can't not go, and can't not enjoy it).
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