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Post by Deleted on Apr 1, 2017 21:58:02 GMT
I'm surprised there haven't been more people from the board going to see this wonderful show. Here is Liza and her Smokey voice on 3 of the numbers from the show. We are all busy at Drury Lane for the next few weeks ๐
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Post by Steve on Apr 1, 2017 22:13:39 GMT
I haven't seen this production but I saw the original on Broadway. I think the most offensive thing about this show is that it wasn't written as a"cheesefest" or a rollicking musical comedy. It was written by 3 straight white guys of a certain age projecting their fantasies of what fun being a whore in 1970's New York must be. The first draft of this show was, I think in the early 80's if not before, so it's not a fond look back, they were writing it in "the present" but it took so long to get produced that it became "the past". I think the reason so many of us over here enjoy it ( not me but the rest of us) is there is a sense of detachment from the whole slice of life that it portrays. I wonder if there are any Yanks on this board who have seen it and what their response to it is. I'm not a Yank, as such, but I do agree with you that there is a detachment between the events depicted by the show and the exuberant singing and dancing. The events depicted are the worst kind of sex trafficking, but the mood is relentlessly upbeat throughout. I questionably described that as a "cheesefest," particularly as my audience were cheering on the performers after every song. To clarify, no matter how seriously the performers take their characters, the audience cannot. I have never been so happy watching a show about such miserable subject matter. (If, say, Carousel would typically rouse my tear-o-meter to 10/10 full on blubbing, this show is a flat zero on the blub scale, despite hellish subject matter). This show is just fun, and I wouldn't cut a single song. It comes around too rarely to leave Cy Coleman numbers unperformed. ๐
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4,631 posts
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Post by Phantom of London on Apr 2, 2017 0:22:47 GMT
Saw the matinee today. Despite a very long first half I really enjoyed this show. I had no idea what to expect and had only got round to reading the storyline this morning. For me Sharon D Clark knocks it out of the park with that voice of hers. I was pleasantly surprised by the quality of the music and lyrics, and the varied styles throughout. It's certainly not a dated piece. Couldn't fault any of the cast and I thought the portrayals of Memphis and Queenie were excellent. Just wished this Forum had warned me of the Hooker's Ball at the start of the second half. Sat in the front row it was clearly bad timing on my part to start eating an ice cream with quite so much going on in front of my face. As it happens I was sitting by you and your wife, I took one of the vacant seats at the front in the second half, I was the fellow always referring to my programme. A show I glad I saw here, than on Broadway, enjoyed it for what it was, even though it was very sleazy.
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Post by BurlyBeaR on Apr 3, 2017 13:38:58 GMT
Saw the matinee today. Despite a very long first half I really enjoyed this show. I had no idea what to expect and had only got round to reading the storyline this morning. For me Sharon D Clark knocks it out of the park with that voice of hers. I was pleasantly surprised by the quality of the music and lyrics, and the varied styles throughout. It's certainly not a dated piece. Couldn't fault any of the cast and I thought the portrayals of Memphis and Queenie were excellent. Just wished this Forum had warned me of the Hooker's Ball at the start of the second half. Sat in the front row it was clearly bad timing on my part to start eating an ice cream with quite so much going on in front of my face. As it happens I was sitting by you and your wife, I took one of the vacant seats at the front in the second half, I was the fellow always referring to my programme.A show I glad I saw here, than on Broadway, enjoyed it for what it was, even though it was very sleazy. PoL are you the one mentioned in @pault's bad behaviour post? www.theatreboard.co.uk/post/102820/thread
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Post by japhun on Apr 3, 2017 13:51:38 GMT
Saw the Saturday matinee on 1 April. I thought this was a great production at the Southwark (which, thankfully, took away the bad taste in my mouth left from Promises, Promises!). Sharon D Clarke is phenomenal as Sonja and I found the entire cast to be strong- especially the portrayals of Queen and Memphis, who was especially strong. I love the score of The Life- it epitomizes the time period. The whole thing reeked of 80's sleaze (and that is obviously a good thing!). Even though the first act clocked in at almost 90 minutes, it did not feel long to me. Go check it out!
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Post by Phantom of London on Apr 3, 2017 15:26:59 GMT
As it happens I was sitting by you and your wife, I took one of the vacant seats at the front in the second half, I was the fellow always referring to my programme.A show I glad I saw here, than on Broadway, enjoyed it for what it was, even though it was very sleazy. PoL are you the one mentioned in @pault 's bad behaviour post? www.theatreboard.co.uk/post/102820/thread๐๐๐๐๐
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Post by Deleted on Apr 3, 2017 16:00:47 GMT
Well. No sign of Esther Rantzen or Mollie Sugden pointing out grammatical mistakes on signage. Instead, it's all about hookers and mofos.
It's a strange show. The first half is like an extended remix of 'Big Spender' from 'Sweet Charity', the second gets a bit dramatic and goes all Bill Sykes and Nancy on London Bridge. Great cast giving it all some welly. A couple of good tunes although it can't decide whether it's 70s soul, jazz-hands Broadway or big ol' ballads. Sharon D. Clarke steals the honours but I also really liked David Albury as Fleetwood (coping manfully with a cold I think), Joanna Woodward as Mary and T'Shan Williams as Queen who is not only a knockout looker but has a lovely voice (I'll even overlook the Fraggle Rock hair). Cornell S. John speaks so slowly I think he added an extra half hour to the running time but he's really quite menacing.
They could shave a good half an hour off the running time but it's worth it to see Sharon D Clarke dressed as a sparkly Cookie Monster at the Hookers Ball.
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Post by couldileaveyou on Apr 4, 2017 17:38:33 GMT
I just caught the matinee and loved it! It's a bit too long, but the score is great and the cast is uniformly excellent. Sharon D. Clarke delivered a masterclass in musical theatre with her "The oldest profession".
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Post by theatrelover123 on Apr 4, 2017 20:58:55 GMT
I was there this afternoon and LOVED the show. Excellent all round
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Post by jgblunners on Apr 6, 2017 23:01:34 GMT
Absolutely loved this tonight! Wonderful music and very well put-together production. The intimacy of Southwark Playhouse really helped the atmosphere, but there were moments where it felt like the show wanted to be bigger. That's the trade-off I guess. I agree that it could do with having 10/15 minutes shaved off it, and I felt that Act 2 didn't flow as well as Act 1.
Extremely good cast - loved the performers playing Jojo, Queen and Mary, but Sharon D. Clarke as Sonja is just in a different league. She is perfect in that role, and what a voice! She impressed me so much that I might have to look into Caroline, Or Change at Chichester now...
On another note, it was a nice surprise to be sat just metres away from both Rachel Tucker and Sir Trevor Nunn!
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Post by couldileaveyou on Apr 6, 2017 23:05:42 GMT
I was sitting in front row and a over-enthusiast dancer kicked me hard in the leg. And I was sitting very properly, like a schoolboy. Ouch! But wonderful show, I keep thinking about Sharon D and how marvelous she was.
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Post by schuttep on Apr 7, 2017 9:57:50 GMT
Absolutely loved this tonight! Wonderful music and very well put-together production. The intimacy of Southwark Playhouse really helped the atmosphere, but there were moments where it felt like the show wanted to be bigger. That's the trade-off I guess. I agree that it could do with having 10/15 minutes shaved off it, and I felt that Act 2 didn't flow as well as Act 1. Extremely good cast - loved the performers playing Jojo, Queen and Mary, but Sharon D. Clarke as Sonja is just in a different league. She is perfect in that role, and what a voice! She impressed me so much that I might have to look into Caroline, Or Change at Chichester now... On another note, it was a nice surprise to be sat just metres away from both Rachel Tucker and Sir Trevor Nunn! I totally agree. Loved it. Sharon D Clarke is always amazing - I was the one on the front row that got her boot between my legs!! The playwright Sir David Hare was also there.
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Post by jgblunners on Apr 7, 2017 11:04:37 GMT
On another note, it was a nice surprise to be sat just metres away from both Rachel Tucker and Sir Trevor Nunn! Board members are politely reminded of our rule against discussing the private lives of others without permission. My apologies! I didn't realise that was a rule, but I shall stick to it from now on ๐
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Post by Deleted on Apr 7, 2017 13:51:51 GMT
On another note, it was a nice surprise to be sat just metres away from both Rachel Tucker and Sir Trevor Nunn! Board members are politely reminded of our rule against discussing the private lives of others without permission. Maybe the sun has gone to my head...but that was joke comment, right??
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Post by jgblunners on Apr 7, 2017 13:58:07 GMT
Oops, I'm afraid that went completely over my head ๐
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Post by foxa on Apr 7, 2017 22:57:27 GMT
Thank you to the Theatre Board! I won the prize last month of two tickets for this show. I also bought two tickets so a group of four of us went to see this tonight (two of whom had never been to the Southwark before, so I feel I'm spreading the news.) I really enjoyed it. There was a technical hitch which gave us an extra interval, but it wasn't a problem. This was a fantastically sung show. Will write more about it tomorrow!
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Post by foxa on Apr 8, 2017 10:37:42 GMT
This was a really well cast and staged show, full of interesting touches (the moment when the sex workers are looking at the wallet one got from a client and come upon an unexpected photograph, for example.) The band sounded great and the singing was fantastic. Other positives: Standouts were Sharon D. Clarke (of course) and Cornell S. John (who was new to me, but was so ominous - at one point when he entered one of my friends and I both gasped.) Another character makes a surprising switch and I truly was surprised - I had thought the narrative was going one way, but then it went an entirely different way, which I liked. The characters, even the smallest roles, are well-individualised and there were some great costumes. Negatives: About 2/3's of the way through the first act, there was a technical glitch and they had to bring the show to a halt. Everyone was ushered to the bar for an additional interval. Then about 20 minutes later there was a shortened real interval which did add to what, as others have mentioned, is already a pretty long evening. I wasn't bored for a second, but I know one of friends fell asleep on the train home, so perhaps it was a bit long. Given the grimness of the subject matter, sometimes the jaunty music and occasionally clunky lyrics jarred - at one point the audience was clapping right after something awful has happened which felt odd. The dancing was so energetic it looked like a woman in the front row almost got kicked in the face, she was flustered and laughing for a bit afterwards. Two performers have to do a dance in bathrobes. No one should be asked to do that. Ever.
My husband liked it but he had two concerns: 'Where is it's moral centre?' and 'Would it have been better if it hadn't been about sex workers?' (Hmmm....so really, it would just be a totally different piece.) The two of us in the group who had lived in NYC for a while liked it better than the two who hadn't - we both thought one of the male dancers was exactly like guys we'd see downtown (Matthew Caputo who wore red a lot - also a really good and committed dancer.)
So I would recommend, it's a good 4* from me.
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Post by Deleted on Apr 8, 2017 11:46:13 GMT
Have just seen that this has 7 producers. Any idea why so many?
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Post by foxa on Apr 8, 2017 17:30:18 GMT
No, no idea why there are so many (there are three producers and four co-producers) - perhaps a sign of hoping that it has a future life? Some are very experienced (Catherine Schrieber brought Scottsboro Boys to London. That first played in a small venue and then the West End, so possibly thinking the same for this?)
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Apr 8, 2017 18:02:34 GMT
This is based on Blakemore's New York production isn't it? Possibly some of the producers relate to that?
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3,927 posts
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Post by Dawnstar on Apr 11, 2017 21:10:29 GMT
Have just seen that this has 7 producers. Any idea why so many? Try reading An American In Paris's programme. There are 2 pages of producers! I didn't count up but there must be at least 30 listed. I have never seen even half as many listed for any other production before.
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Post by Deleted on Apr 11, 2017 22:39:10 GMT
Have just seen that this has 7 producers. Any idea why so many? Try reading An American In Paris's programme. There are 2 pages of producers! I didn't count up but there must be at least 30 listed. I have never seen even half as many listed for any other production before. Broadway shows tend to have more 'money' producers - I think Kinky Boots has about 30. But this is Southwark?!
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Post by synchrony on Apr 11, 2017 22:42:21 GMT
Just saw this. Not sure what I can add that's new, I agree with many of the other comments.
I really liked Mary and thought she and Memphis were well cast.
Sharon D Clarke stole the show, I couldn't keep my eyes off her and LOVED The Oldest Profession.
Too long. I'd have cut the pointless gambling number for a start.
I hadn't read this thread before going in, but also spent a lot of time thinking 'hey, this number sounds very like' I won't send roses'! (which also sounds like 'the colours of my life').
Glad I saw it with such a good cast and enjoyed the score, but the book didn't thrill me so wouldn't rush back. Lots I liked but found it up and down.
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Post by westendwendy on Apr 12, 2017 16:11:59 GMT
Have just seen that this has 7 producers. Any idea why so many? It's all about money. Anyone who throws 30k in can call themselves a producer. It's the split cost of the production.
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Post by Mark on Apr 17, 2017 9:00:05 GMT
I saw the Saturday matinee, and I thought it was a good show, with a score that worked very well.
Highlight for me was Joanna Woodward as Mary. She was just so natural and had "it"... whatever "it" is. She's definitely one to watch! Of course Sharon D Clarke was fantastic... she had a look that was so unforced and genuine, and I always adore her voice.
Worth seeing!
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Post by CG on the loose on Apr 18, 2017 17:44:46 GMT
Cancelled tonight due to cast illness - planning to be back tomorrow.
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Apr 19, 2017 12:24:02 GMT
Tonight's performance is going ahead.
Really enjoyed this at the weekend. Only annoyance was a 3PM start for a 3 hour show made it difficult to plan a show for the evening.
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Post by argon on Apr 19, 2017 23:22:55 GMT
Some very impressive vocal performances SD Clarke and Cornell S John ( both have great vocal control). The music & lyrics work well together but by then Cy Coleman was a seasoned pro. An enjoyable production considering the space constrictions and cast size. Considering the dross that's been milling around lately just the tonic that was needed to right the imbalance. The Girls next but I fear the green Barlow will be in Cy's shadow on the musical level.
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Post by gazzaw13 on Apr 24, 2017 8:05:36 GMT
Saw this on Saturday afternoon ad was blown away by the amazing performances. Yes it's 20 minutes too long but Sharon and Cornell are excellent as always - the first time I'd seen Joanna Woodward who played Mary to perfection. Highly recommended
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Post by SageStageMgr on Apr 25, 2017 17:32:57 GMT
Attended today's matinee. Very strange show!
Uneven, confused tone and overly long, but nonetheless ultimately enjoyable. The show deals with a very serious subject matter, but it's very unsure of what it is actually trying to be. "Guys and Dolls" meets "Sweet Charity"? Yes, but those shows both have a much clearer identity as musicals in terms of tone and content. Part of this musical wants to be taken seriously - evidenced in the engaging, dramatic finale - but so much of it is frankly ridiculous it's hard to feel any pathos in the piece.
Solid performances. Sharon D. Clarke plays Sharon D. Clarke with aplomb. Always exactly the same, always great at what she does. In great voice as ever. The standard gospel belting, finger wagging and head wobbling in full force. John Addison I've seen in loads of stuff over the years and he's always a very solid hand. He's suitably smarmy in this. T'Shan Williams as Queenie (not the Blackadder one) who has fantastically comical hair, but struggles vocally a little in places. Very easy on the eye though (despite having a fully grown black poodle growing out her head). Also nice on the eyes is Joanna Woodward as Mary, who is one of the few characters to actually have a "journey". We get to see her semi-nude too which was an unexpected bouncy bonus. Cornell John is imposing and sinister as gangster pimp don Memphis. Weird singing technique, lovely sound though! Much better in this than his Javert back in 2005, where he was over-exposed opposite much better singers. It's very much an ensemble piece and the (small) cast is solid enough throughout.
Two major things struck me; firstly, this production felt cheap, cheap, CHEAP. Even for this venue, with its volunteer ushers et al. The projections on the back wall were out of focus, and appeared to be low resolution stock photos or displayed on very poor equipment. One scene had a rickety coffee trolley at a supposedly luxury locale, but it was visibly broken with one wheel not even touching the floor. No excuses for the fakest plastic strawberries I've ever seen either. The "dance podium" set piece - the bed without the mattress on it I think - was rickety and loudly creaked when stood upon. Why are these things an issue? Well, being merely inches away from the action, these become glaring and distracting issues to a miserly old theatre snob.
Secondly, the sound quality and mixing was abysmal. Everything sounded tinny and the mic balancing left a lot to be desired. I don't know if it's the audio equipment in the venue at fault or what, but it sounded awful acoustically.
Neither of the above issues did I notice at my only other visit for a musical at the venue (the absolutely outstanding Mack & Mabel, a few years back), and I can only judge on what I see and hear.
But for ยฃ20 this was well worth a visit. Entertaining, if befuddled and, as I say, too long at nearly 3hrs.
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