7,505 posts
|
Post by alece10 on Feb 6, 2019 7:46:34 GMT
I will probably be excommunicated from the theatre board for saying this but I quite like the idea of a concert version and like the cast announcements. Not bothered either way about CHF but certainly like the others. I really enjoyed Alfie Boe at the O2 concert. Also think its very clever casting as all 4 have big fan bases so it's guaranteed to sell very well indeed.
|
|
449 posts
|
Post by SageStageMgr on Feb 6, 2019 8:19:20 GMT
Gutted, but not surprised. I can’t be bothered to go back and quote the relevant parts of my posts and responses. When I saw it last year I opined that the show looked on last legs, with extremely dubious casting and an influx of much younger performers in key roles and the emsemble. I predicted closure within a year. I was told I was being dramatic, but it was always going to happen - in my near-century of LM visits around the world, my visit last autumn was comfortably the worst.
Not that I’m happy with this. I enjoyed the tour previously and it made a refreshing change to see new sets, costumes and touches of new direction from Laurence - a really strong cast (JOJ and Earl Carpenter) and a mixture of experience and youth in the ensemble. But I really did miss the revolve.
The casting of Ball as Javert, however temporarily and in a “staged concert” version (whatever that means), I take as a tacit admission of failure with the current casting policy.
Finally, this whole situation is a mess in my mind. I’m still a little confused about what is happening. The run can no longer be “continuous” if there is a month break. If it’s a fully staged concert it is a different production. If it’s a different, new “full” production that reopens, it shouldn’t count as continuous anyway.
So it closes in July at the Queens, rests for a month, opens as a staged concert in August for 16 weeks, then the touring production goes into the Gielgud?
|
|
18,802 posts
|
Post by BurlyBeaR on Feb 6, 2019 8:21:15 GMT
(enters room and whispers) I like Alfie Boe! (runs out of room) I thought he was marvellous in the Fishermans Friend advert.
|
|
449 posts
|
Post by SageStageMgr on Feb 6, 2019 8:25:30 GMT
I saw this a few weeks ago. I’ve written extensively about Les Mis throughout this thread, it’s a show very close to my heart and probably my favourite ever. What I saw was the worst cast since around early 2005, when it was set to close. At that point they brought in an entire new cast and resident creative team to rescue it - and it worked, thanks to the likes of John Owen-Jones and Hans Peter Janssens. Two top quality stage performers with exceptional voices, experience and presence. It has been going downhill for years now, but this was a new low. Everyone is SO young. There was no finesse, no pacing - it was just nonstop rushing. This show has been taking liberties for nearly a decade with younger and younger casts, faster shows with more cuts and everything in fast forward, higher ticket prices and smaller bands. Frankly, after 100+ visits to Les Mis all around the world, this production really deserves to close, because the producers have lost the creative meaning of the piece and my respect.
I can’t see, short of a full blown 2005 massacre and reboot, any reason to see this production again.
|
|
|
Post by Deleted on Feb 6, 2019 9:13:52 GMT
www.thestage.co.uk/features/interviews/2019/designer-john-napier-interview-les-mis-gone-backwards-become-formulaic-not-radical/John Napier's thoughts - measured, intelligent and full of great points - an excellent read. I have a personal passion for set design and Cats, Starlight Express, Les Mis, Miss Saigon and Sunset Boulevard were breathtaking and iconic. I mean clearly I am biased as these would be in my top 10 musicals ever, but I do believe he is the greatest designer of all time. And I take his point re the direction Cam Mac has gone in the last decade - although his productions are lavish and fabulous (and I do love them), they ARE formulaic. These original productions were radical - and that was wonderful. And it's completely true that having the creatives of the 'new' version all having worked on the original means that it can't help but be influenced by it - an authentic new production would have been a different matter. ANYWAY - I shall continue to lament the revolve!
|
|
|
Post by Deleted on Feb 6, 2019 9:17:02 GMT
Gutted, but not surprised. I can’t be bothered to go back and quote the relevant parts of my posts and responses. When I saw it last year I opined that the show looked on last legs, with extremely dubious casting and an influx of much younger performers in key roles and the emsemble. I predicted closure within a year. I was told I was being dramatic, but it was always going to happen - in my near-century of LM visits around the world, my visit last autumn was comfortably the worst. Not that I’m happy with this. I enjoyed the tour previously and it made a refreshing change to see new sets, costumes and touches of new direction from Laurence - a really strong cast (JOJ and Earl Carpenter) and a mixture of experience and youth in the ensemble. But I really did miss the revolve. The casting of Ball as Javert, however temporarily and in a “staged concert” version (whatever that means), I take as a tacit admission of failure with the current casting policy. Finally, this whole situation is a mess in my mind. I’m still a little confused about what is happening. The run can no longer be “continuous” if there is a month break. If it’s a fully staged concert it is a different production. If it’s a different, new “full” production that reopens, it shouldn’t count as continuous anyway. So it closes in July at the Queens, rests for a month, opens as a staged concert in August for 16 weeks, then the touring production goes into the Gielgud? Interesting. You have a great point that the quality of the original had declined bit by bit over the years - but that doesn't lead shows to close. Despite this, sales remained through the roof and the Queen's is usually sold out. Joe Public don't notice the decline in quality clearly. So surely while you still rake the cash in, that is not in itself a reason for a producer to change/close?
|
|
|
Post by partytentdown on Feb 6, 2019 10:58:18 GMT
Can anyone describe what has changed or been cut over the years? I'm always interested to hear about changes made to shows and the decision process behind them.
|
|
|
Post by Deleted on Feb 6, 2019 11:10:19 GMT
Can anyone describe what has changed or been cut over the years? I'm always interested to hear about changes made to shows and the decision process behind them. So there have been a few trims since the Compete Symphonic recording but they are minimal. The main issues are more subtle: - reduced orchestra over the years (although sound wise things improved when the new orchestrations were brought in as it was orchestrated for the size of orchestra it now had) - MDs seem (though for me is just a perception) to be conducting the show faster and faster so everyone gets out quicker - younger and younger casts - talented no doubt but lacking the acting subtlety and nuance that experience brings The piece itself hasn't been cut since the 90s though I don't think. I do echo others views that something was lost when it moved from The Palace. Something difficult to put into words. As certain shows fit certain theatres (Cats in New London, Starlight in Apollo Victoria) The Palace felt totally right for Les Mis and it was a holistic fabulous experience there.
|
|
503 posts
|
Post by jampot on Feb 6, 2019 11:20:21 GMT
What is the go to cast recording atm?
|
|
|
Post by Deleted on Feb 6, 2019 11:24:23 GMT
What is the go to cast recording atm? Very much down to personal preference. For me it's the 25th anniversary one - the updated orchestrations I think are brilliant - and it's really the only significant new English recording in the last 20 years (well, other than the dire film soundtrack). Of course the OLC will always hold a special place in my heart. As will the compete symphonic - some weak links in the cast but the original orchestrations sound epic with such a huge orchestra and it is the only complete recording.
|
|
|
Post by Deleted on Feb 6, 2019 11:26:49 GMT
What is the go to cast recording atm? For me it's the 25th anniversary one - the updated orchestrations I think are brilliant Same!
|
|
874 posts
|
Post by daisy24601 on Feb 6, 2019 11:34:19 GMT
For me it'll always be the 10th Anniversary concert. Can't beat Philip Quast and Ruthie. Although I'm not that keen on Colm Wilkinson (I know!), so I listen to 25th anniversary tour for some JOJ.
There are some lyric changes from the 10th to now, although so slight I wonder why they decided to change them.
|
|
|
Post by Deleted on Feb 6, 2019 11:43:17 GMT
For me it'll always be the 10th Anniversary concert. Can't beat Philip Quast and Ruthie. Although I'm not that keen on Colm Wilkinson (I know!), so I listen to 25th anniversary tour for some JOJ. There are some lyric changes from the 10th to now, although so slight I wonder why they decided to change them. Oh, I don't like Colm. I think he has an annoying vibrato.
|
|
|
Post by Deleted on Feb 6, 2019 11:43:34 GMT
Sorry. Double post. I meant to edit my previous one and ended up quoting myself.
|
|
|
Post by partytentdown on Feb 6, 2019 13:03:32 GMT
For me it'll always be the 10th Anniversary concert. Can't beat Philip Quast and Ruthie. Although I'm not that keen on Colm Wilkinson (I know!), so I listen to 25th anniversary tour for some JOJ. There are some lyric changes from the 10th to now, although so slight I wonder why they decided to change them. What sort of lyric changes were made?
|
|
776 posts
|
Post by latefortheoverture on Feb 6, 2019 13:07:38 GMT
Regardless of how disappointing this 'concert' may be, there is no denying it will sell and sell and sell.
Every demographic is pretty much covered, add to that fans of the show regardless and then the none the wiser tourists.
|
|
|
Post by Deleted on Feb 6, 2019 17:28:55 GMT
Can anyone describe what has changed or been cut over the years? I'm always interested to hear about changes made to shows and the decision process behind them. I'm sure there used to be a website which detailed all the cuts / lyric changes over the years. I'll see if I can find it. But I wrote this post on another thread about a year ago: I first saw Les Mis in 1993, so despite the show being 8 years old at the time, it was relatively early on in it's 32 year run. My memory of the show as it was then was perfect (for want of a better word). I am fully aware that part of that is nostalgia, and probably the reason I have never felt the same love for the revised 25th anniversary production. But I agree that the original London production now lacks something.
In 1993 the show was pretty much as it is on the Complete Symphonic Recording. From memory, I think it was added to slightly in 1997 (Broadway 10th anniversary) when they reinstated the well scene from the Barbican days, where Valjean first meets Cosette. There were possibly minor lyric changes then too. However a few years later (2000?) the Broadway production was cut by around 15 minutes to bring the running time to just under 3 hours, and save on overtime costs. These changes were implemented into productions around the world shortly after. However, I think the current running time is 2h50, so other stuff may have been cut since then. Or perhaps as people have said, the pace has just been increased.
|
|
|
Post by Deleted on Feb 6, 2019 17:48:47 GMT
Can anyone describe what has changed or been cut over the years? I'm always interested to hear about changes made to shows and the decision process behind them. This is quite an interesting read regarding the cuts (and reinstatements) to the show... abaisse.the-barricade.net/viewtopic.php?t=1060
|
|
1,002 posts
Member is Online
|
Post by David J on Feb 6, 2019 18:21:49 GMT
Speaking of changes there was a recent one that bugged me (the last 2 times I saw the show back in 2017) where Enjorlas' body no longer lies along the bit of stairway and the flag on the barricades, but instead is dangling by his leg over the side of that stairway. As if his foot got stuck in the stairs as he fell, which to me the probability of that happening was small.
Is that still in there
|
|
|
Post by Deleted on Feb 6, 2019 18:29:15 GMT
What is the go to cast recording atm? For me it's Complete Symphonic Recording. I love the sound of the orchestra and it's the only complete version. I like alot if the recetivative in the show and it's all in there I.e Fantines Arrest and Attack on Rue Plumet. I also much prefer Gary Morris as Valjean. Surely Michael Ball holds the record for singing on the most Les Miz recordings?
|
|
1,002 posts
Member is Online
|
Post by David J on Feb 6, 2019 18:35:40 GMT
What is the go to cast recording atm? Surely Michael Ball holds the record for singing on the most Les Miz recordings? Philip Quast shares that doesn't he? Symphonic, 10th Anniversary and the 1992 UK Tour Manchester (okay 5 tracks but still) recordings
Oh and Colm Wilkinson is in the both original London and broadway cast recordings and the 10th Anniversary
|
|
|
Post by Deleted on Feb 6, 2019 18:43:34 GMT
If I remember correctly, the Stars used on the Manchester Highlights CD is the Complete Symphonic Recording version. I think.
But yes, Philip Quast is still featured on three recordings.
|
|
5,276 posts
Member is Online
|
Post by mrbarnaby on Feb 6, 2019 18:52:52 GMT
I can’t believe they should be able to say it’s the longest running show when that version is closing. It’s a joke if they do.
I mean until another show exceeds its run (at the time the current version closes)
|
|
5,276 posts
Member is Online
|
Post by mrbarnaby on Feb 6, 2019 18:55:29 GMT
Guys, you are forgetting something. From official Les Mis website: We are getting two productions at the same time: the original at the Shaftesbury, and the staged concert at the Gielgud. Then the new version opening at the Queen's. Unless plans have changed of course. In that case they should update the news section, to avoid confusion. Edit; I'm an idiot. Shaftesbury Ave, not the Theatre. Ignore me. Eh? It’s oretty clear there won’t be 2 productions playing at the same time . “While the queens theatre is being restored”. I also fail to see how they can get all the work done in a mere 4 months.
|
|
|
Post by Deleted on Feb 6, 2019 19:12:10 GMT
Guys, you are forgetting something. From official Les Mis website: We are getting two productions at the same time: the original at the Shaftesbury, and the staged concert at the Gielgud. Then the new version opening at the Queen's. Unless plans have changed of course. In that case they should update the news section, to avoid confusion. Edit; I'm an idiot. Shaftesbury Ave, not the Theatre. Ignore me. Eh? It’s oretty clear there won’t be 2 productions playing at the same time . “While the queens theatre is being restored”. I also fail to see how they can get all the work done in a mere 4 months. I already said I made a mistake. Totally misread Shaftesbury Avenue as Shaftesbury Theatre and it all went wrong from there.
|
|
2,041 posts
|
Post by 49thand8th on Feb 6, 2019 19:48:58 GMT
What is the go to cast recording atm? For me it's Complete Symphonic Recording. I love the sound of the orchestra and it's the only complete version. I like alot if the recetivative in the show and it's all in there I.e Fantines Arrest and Attack on Rue Plumet. I also much prefer Gary Morris as Valjean. Surely Michael Ball holds the record for singing on the most Les Miz recordings? The main reason I would say don't go for this one first is because of the lack of chemistry among the performers. Most of them had never met or only met shortly before recording. That and group numbers are way overproduced — One Day More on the CSR is nearly cringeworthy to me these days.
|
|
21 posts
|
Post by northernhomo on Feb 6, 2019 20:46:03 GMT
Am I right in thinking that if they continue to claim that “New” Les Mis, is still the original Les Mis, then they’re intact breaking the law? False advertising and all that.
In all fairness, I’ve not seen Les Miserables for a couple of years, but the last time I saw it at Queens, it was very very dull, and looked very tired. 30-odd Years is a great run, maybe we need to rest it for a while.
The same could be said for Phantom, since I made that last point.
I feel like we should be championing new, fresh, exciting theatre. Theatre land is changing in London and we should be embracing that, and looking to the future.
I also get the points made that it’s a cash cow that brings people in, and will sell tickets. It’s a tourist attraction - and hugely profitable. I get that. I understand that’s what investors want.
|
|
1,210 posts
|
Post by musicalmarge on Feb 6, 2019 21:25:00 GMT
Am I right in thinking that if they continue to claim that “New” Les Mis, is still the original Les Mis, then they’re intact breaking the law? False advertising and all that. In all fairness, I’ve not seen Les Miserables for a couple of years, but the last time I saw it at Queens, it was very very dull, and looked very tired. 30-odd Years is a great run, maybe we need to rest it for a while. The same could be said for Phantom, since I made that last point. I feel like we should be championing new, fresh, exciting theatre. Theatre land is changing in London and we should be embracing that, and looking to the future. I also get the points made that it’s a cash cow that brings people in, and will sell tickets. It’s a tourist attraction - and hugely profitable. I get that. I understand that’s what investors want. I saw Phantom last week and it was sensational and in terrific shape. I hadn’t seen it since 2005. As for Les Mis. If it is breaking the run and changing production the new show is a revival!
|
|
316 posts
|
Post by martello736 on Feb 7, 2019 7:35:16 GMT
I feel they've made a mistake in heavily promoting the Gielgud run, that'll only last for 4 months, they should be getting the big names together for the re-opening at the Queens, that's what I'm sure they hope is gonna last for another 30 years.
|
|
833 posts
|
Post by Steffi on Feb 7, 2019 7:49:22 GMT
What they really should have done is have the decency to inform the current cast at the Queen's of their plans before announcing it to Joe Public.
|
|