1,907 posts
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Post by sf on Sept 20, 2019 11:34:56 GMT
I enjoyed this last night, but with reservations, none of which are about the material. This is a show I've loved for a long time - I saw the touring version of the original Broadway production in Washington DC in 1993, and I'd had both recordings for at least a couple of years by then. This production is often beautifully sung, but the director makes a lot of choices that undercut the material. The tone in the first half is often way off, and sometimes far too frenzied, and everybody pushes too hard. Joel Montague (who, yes, came into his role very late in the process, and who I've liked very much indeed in everything else I've seen him do) doesn't find his feet until a fair way into the second half. The March of the Falsettos number, which admittedly is a very strange moment, is a catastrophe of bad directorial choices - there is a point to the song, but nobody on this stage seems to understand what it is. It's more than just two minutes of goofiness, and the processed echo effect in the sound system is unneccessary and distracting. I'm the last person to suggest a director should slavishly follow stage directions in a published script, but if you have a song that the script indicates is sung in bed, with the character singing about/to his sleeping lover, it's more than a little perverse to stage it with the actor playing the lover sitting fully-clothed on a couch reading a book. If you're going to make a different choice, find a different choice that preserves the same sense of intimacy. Having a projection of a flatlining heartbeat in one key moment is simply too much. We get it. It doesn't need to be underlined. Laura Pitt-Pulford's I'm Breaking Down would be about ten thousand per cent more effective if she was allowed to mug less. Yes, the song demands big choices - but it's a shreik of frustration, and if you go right over the top and back again, as she does, you lose the underlying rage. Throughout, the two gay relationships in the show feel peculiarly bloodless/sexless. There's far too little sense of intimacy between these characters, partly because (as I suggested a few lines further up) the director repeatedly makes choices that, essentially, rinse away the gay. Between them, these two couples generate approximately the same sexual heat as a Marks and Spencers chicken salad sandwich. The bottom line, unfortunately, is that I really wanted to love this production, and I couldn't. It's a mess. The material is strong enough, particularly in the second half, that it survives the lousy direction (and overcooked performances, too-silly choreography, and moments when everybody involved simply misses the show's tone), but it's nowhere near as good as it should have been. And while selling themed cocktails in the bar at this show isn't quite as jaw-droppingly tasteless as it is at a production of Fiddler On The Roof, it's still rather crass given where the plot goes in the second half of the second act. https://www.instagram.com/p/B2mk5RfJ1-1
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Post by juicy_but_terribly_drab on Sept 20, 2019 11:57:52 GMT
I enjoyed this last night, but with reservations, none of which are about the material. This is a show I've loved for a long time - I saw the touring version of the original Broadway production in Washington DC in 1993, and I'd had both recordings for at least a couple of years by then. This production is often beautifully sung, but the director makes a lot of choices that undercut the material. The tone in the first half is often way off, and sometimes far too frenzied, and everybody pushes too hard. Joel Montague (who, yes, came into his role very late in the process, and who I've liked very much indeed in everything else I've seen him do) doesn't find his feet until a fair way into the second half. The March of the Falsettos number, which admittedly is a very strange moment, is a catastrophe of bad directorial choices - there is a point to the song, but nobody on this stage seems to understand what it is. It's more than just two minutes of goofiness, and the processed echo effect in the sound system is unneccessary and distracting. I'm the last person to suggest a director should slavishly follow stage directions in a published script, but if you have a song that the script indicates is sung in bed, with the character singing about/to his sleeping lover, it's more than a little perverse to stage it with the actor playing the lover sitting fully-clothed on a couch reading a book. If you're going to make a different choice, find a different choice that preserves the same sense of intimacy. Having a projection of a flatlining heartbeat in one key moment is simply too much. We get it. It doesn't need to be underlined. Laura Pitt-Pulford's I'm Breaking Down would be about ten thousand per cent more effective if she was allowed to mug less. Yes, the song demands big choices - but it's a shreik of frustration, and if you go right over the top and back again, as she does, you lose the underlying rage. Throughout, the two gay relationships in the show feel peculiarly bloodless/sexless. There's far too little sense of intimacy between these characters, partly because (as I suggested a few lines further up) the director repeatedly makes choices that, essentially, rinse away the gay. Between them, these two couples generate approximately the same sexual heat as a Marks and Spencers chicken salad sandwich. The bottom line, unfortunately, is that I really wanted to love this production, and I couldn't. It's a mess. The material is strong enough, particularly in the second half, that it survives the lousy direction (and overcooked performances, too-silly choreography, and moments when everybody involved simply misses the show's tone), but it's nowhere near as good as it should have been. And while selling themed cocktails in the bar at this show isn't quite as jaw-droppingly tasteless as it is at a production of Fiddler On The Roof, it's still rather crass given where the plot goes in the second half of the second act. https://www.instagram.com/p/B2mk5RfJ1-1 Completely agree with everything you've said! Pitt-Pulford's I'm Breaking Down was far too over the top, I was also annoyed by the staging without the bed and am even moreso now that I know the stage direction even specifies it and there were so many directorial choices like that which irritated me.
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4,038 posts
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Post by kathryn on Sept 20, 2019 12:44:30 GMT
Whizzer had clearly fallen asleep in his chair with his book when I saw it, though I take the point that lying in bed together is a much more intimate setting.
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Post by juicy_but_terribly_drab on Sept 20, 2019 13:11:11 GMT
Whizzer had clearly fallen asleep in his chair with his book when I saw it, though I take the point that lying in bed together is a much more intimate setting. Pretty much. I just felt that their relationship lacked much of a spark compared to the Broadway revival's and it was down to the direction most of the time.
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3,075 posts
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Post by david on Sept 23, 2019 22:44:41 GMT
After watching this tonight, I’ve got mixed feelings about this production. From a casting point of view, I just couldn’t warm to Oliver Savile as Whizzer (even during the hospital scenes which are just heart breaking) or invest much emotion into this character for the majority of the show. As for the others, Laura Pitt Pulford’s “I’m Breaking Down” was maybe a little too comedic to be believable that her marriage was falling apart and any rage and anger that should of been there in that situation was lost in the number’s presentation. As Marvin, Daniel Boys I thought had some really strong moments (Father to Son in Act 1 and What would I do in Act 2 in particular), but the relationship between Marvin and Whizzer didn’t come across particularly well and kind of felt a little cold at times. For Joel Montague, I actually liked his performance (though his Act 2 performance was the better one). Tonight we had George Kennedy as Jason and for me he was really good throughout the show.
Of the two acts, certainly I felt Act 2 was the stronger of the two in its writing and presentation than Act 1 which for me while having some nice comedy, tonally was just uneven and the balance between comedy and angst just didn’t sit right for me.
Whilst some of the performances where a mixed bag, vocally I couldn’t fault this and the cast certainly delivered. The band sounded great tonight.
Overall, I wanted to come away from this production having been put through the emotional wringer of these characters individual journey’s, but whilst the ending was powerful, the experience as a whole left me somewhat flat.
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642 posts
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Post by Stasia on Sept 24, 2019 8:37:48 GMT
After watching this tonight, I’ve got mixed feelings about this production. From a casting point of view, I just couldn’t warm to Oliver Savile as Whizzer (even during the hospital scenes which are just heart breaking) or invest much emotion into this character for the majority of the show. As for the others, Laura Pitt Pulford’s “I’m Breaking Down” was maybe a little too comedic to be believable that her marriage was falling apart and any rage and anger that should of been there in that situation was lost in the number’s presentation. As Marvin, Daniel Boys I thought had some really strong moments (Father to Son in Act 1 and What would I do in Act 2 in particular), but the relationship between Marvin and Whizzer didn’t come across particularly well and kind of felt a little cold at times. For Joel Montague, I actually liked his performance (though his Act 2 performance was the better one). Tonight we had George Kennedy as Jason and for me he was really good throughout the show. Of the two acts, certainly I felt Act 2 was the stronger of the two in its writing and presentation than Act 1 which for me while having some nice comedy, tonally was just uneven and the balance between comedy and angst just didn’t sit right for me. Whilst some of the performances where a mixed bag, vocally I couldn’t fault this and the cast certainly delivered. The band sounded great tonight. Overall, I wanted to come away from this production having been put through the emotional wringer of these characters individual journey’s, but whilst the ending was powerful, the experience as a whole left me somewhat flat. Joel Montague wasn’t on yesterday... it was male standby, can’t remember his nsme, sorry - Martin McKenna?
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1,465 posts
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Post by foxa on Sept 25, 2019 13:52:25 GMT
Montague was off when we saw it a couple of weeks ago. McKenna is a hard-working standby!
Mr Foxa liked this more than I did. I thought the performances were all a bit off, with Daniel Boys particularly miscast, though they all sang well. Didn't like the cartoony set. A couple of the songs stayed with me.
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7,509 posts
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Post by alece10 on Sept 27, 2019 7:24:38 GMT
Really enjoyed this last night. Have been listening to the music for a while so knew the songs but it slots together much better after seeing it. Great singing from the cast especially Laura and Daniel. Plus I do love a sung through musical. I do have to say I looked at my watch a few times which is a sign for me that I am not totally immersed. It was about two thirds full with the empty seats being in the middle section. Almost full standing ovation at the end from the very young and enthusiastic audience. I have a feeling there may have been quite a few musical theatre students in last night. I've not been to the theater since the referb. What's going on? No box office to speak of and the the place was crowded and noisy. Is the bar now open to the public as it was rammed and most people clearly weren't going to see the show. It was like Clapham Junction in the rush hour and not very pleasant.
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Post by Bickers on Sept 27, 2019 11:02:19 GMT
I was at the Saturday matinee and loved the show - certainly tears were shed, even though I've listened to the music for years and knew what was to come.
First things first - this was my first time to The Other Palace, having been there previously as the St James. I don't like the refurb, and there is a woefully inadequate provision of ladies toilets, having the queue back out into the bar area wasn't very nice, and the gents having to squeeze past the queue of ladies to reach their facilities wasn't much fun for any involved. The system was much better in the old setup when they were downstairs and had many more cubicles and space available.
I couldn't even see the merch stand when I arrived at the theatre because there was so much crowding in the public area! I have sensory and spatial awareness issues, so the busyness in there was quite overwhelming. Good to see how popular it was though, but I feel they're trying to cram too much into a limited space which sacrifices visitor comfort. I did see quite a number of younger people (mostly female) who seemed to be on repeat visits.
Speaking of comfort, no real issues with legroom for me in row D - but I'm 5'3". I can see how uncomfortable it would be for anyone with longer legs. Plus I was in the centre of the row - if I'd been nearer an end with people trying to come past I have no idea how someone could squeeze past, even with people standing up.
Now onto the show. Albert Atack was on as Jason and he was wonderful. A great presence and a lovely voice, he lit up the stage every time he was on. I'm seeing the show again in a few weeks and I'd be interested to compare one of the other boys if they're on, but I'd be thrilled to see Albert again as he was so good. Minor blip for him as he lost his glasses during the bows at the end but all handled very well.
Daniel Boys as Marvin. I thought he took a while for his voice to warm up, the first few numbers he seemed weaker. But generally I enjoyed his performance. Marvin isn't the most sympathetic of characters, particularly in Act 1 and he didn't shy away from his negative characteristics.
Oliver Savile as Whizzer, I thought his voice often sounded reminiscent of Stephen Bogardus who originated the role which I enjoyed. I did get slightly distracted in Act 2 when he had his head covered in hospital, as I realised that from certain angles he looked like a younger Rob Brydon and I had to suppress the urge to giggle because of this! I don't think he was the strongest performer but he did a fine job.
I thought Laura Pitt-Pulford had a lovely voice as Trina and her more serious numbers were sung beautifully and acted well. I think she overdid the comedy though, and it spoiled 'I'm Breaking Down' which should have been the stand out in Act 1. Whilst the song obviously does have funny moments, I think the way it was played took away from the fact she is meant to be having a breakdown and it should have been darker (which can be done without inserting swear words into it too, I didn't think that was necessary). Interestingly, they used the original version of the song, not the re-written one used in the 2016 Broadway production.
Joel Montague as Mendel had enough endearing quirkiness to bring the role to life well. I was wondering how they were going to change the lyrics to suit him as he doesn't have the look of the "wirey psychiatrist" mentioned in 'Days Like This' in Act 2 but they changed it to "weary psychiatrist" instead which worked fine. At times his relationship with Trina bordered a little on the creepy side in my opinion (though that's how it's written, rather than his performance), but he shared some lovely moments with Jason. You wouldn't know he was brought into the cast at such short notice.
Gemma Knight Jones and Natasha Barnes make the most of their roles. I was pleased to hear Dr Charlotte get namechecked with a sound effect in the hospital as it has always bugged me how the characters are never actually named on stage and you only know their names by looking in the programme, for characters who seem to be such good friends with the rest of the cast it's strange how they are never mentioned by name and are just 'the lesbians from next door'. I would like one day for a production to cast a Dr Charlotte who lives up to her comment that people say she's "very dykish" - all the women who play her seem to be really feminine and it would be nice to have a beautiful more butch lady on stage, or at least a boyish looking woman. But they sang the roles beautifully and that's the most important thing.
I wasn't over-enamoured by the photo set-up, as all the images seemed very pixelated which cheapened the effect, and some of the gaudy colours were too much for me. I like the rest of the set, however, with the moving furniture blocks serving as beds, tables and chairs when appropriate. I also liked the split level staging with the stairs (though I don't know if you'd miss some of this sat at the back of the theatre), and the use of the centre of the set as a wardrobe/extra door when needed.
The production seemed to use a mixture of the original lyrics and the 2016 production, I'm unsure why - the production seems to have been tinkered with a lot over the years and there doesn't seem to be a definitive version.
Overall, I loved the show, I'd give it a strong 4/5. I can see why people out there haven't liked it, but I'm familiar with the score and story and that probably helps a lot. Act 2 is and always has been the strongest set so I urge people not to leave after Act 1. I'm looking forward to my return visit in 4 weeks and hope it lives up to last weekend's standards, hopefully with room for improvement.
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438 posts
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Post by Rukaya on Sept 27, 2019 11:43:44 GMT
woefully inadequate provision of ladies toilets, having the queue back out into the bar area wasn't very nice, and the gents having to squeeze past the queue of ladies to reach their facilities wasn't much fun for any involved. The system was much better in the old setup when they were downstairs and had many more cubicles and space available. Quick tip on the loos front, there are still toilets downstairs, and lots of them, you can access them from the theatre auditorium by a door in the left corner at the very front of the stalls. There's a sign on the wall there but it's not very obvious. Alternatively, you can usually use the stairs in the foyer (to the right of the auditorium doors) but sometimes if there's a show on in the studio they may be blocked. But you can always access those toilets from the auditorium and there's more cubicles and space.
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Post by Bickers on Sept 27, 2019 12:00:40 GMT
woefully inadequate provision of ladies toilets, having the queue back out into the bar area wasn't very nice, and the gents having to squeeze past the queue of ladies to reach their facilities wasn't much fun for any involved. The system was much better in the old setup when they were downstairs and had many more cubicles and space available. Quick tip on the loos front, there are still toilets downstairs, and lots of them, you can access them from the theatre auditorium by a door in the left corner at the very front of the stalls. There's a sign on the wall there but it's not very obvious. Alternatively, you can usually use the stairs in the foyer (to the right of the auditorium doors) but sometimes if there's a show on in the studio they may be blocked. But you can always access those toilets from the auditorium and there's more cubicles and space. Thanks, that's well worth knowing for next time. I asked an usher if the toilets were still downstairs and was told no, so perhaps something was on downstairs that afternoon.
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688 posts
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Post by sophie92 on Sept 27, 2019 12:43:39 GMT
Quick tip on the loos front, there are still toilets downstairs, and lots of them, you can access them from the theatre auditorium by a door in the left corner at the very front of the stalls. There's a sign on the wall there but it's not very obvious. Alternatively, you can usually use the stairs in the foyer (to the right of the auditorium doors) but sometimes if there's a show on in the studio they may be blocked. But you can always access those toilets from the auditorium and there's more cubicles and space. Thanks, that's well worth knowing for next time. I asked an usher if the toilets were still downstairs and was told no, so perhaps something was on downstairs that afternoon. They seem to be trying to put people off using the downstairs toilets as of late. The last few times I’ve been, a member of FOH staff has stood in front of the door at the front of the auditorium during the interval and at the end of the show, to stop people from going through to use the toilets. The stairs in the main foyer have a little gate/door across that locks now, and the staff haven’t let people down that way to use the toilets, on my recent visits. Maybe it just depends on the day how accommodating they feel like being!
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Post by liv22 on Oct 6, 2019 15:04:24 GMT
Unfortunately I can no longer attend next Saturday so I'm selling one ticket to the Saturday 12th October 19:30 performance if anyone is interested. Paid £25, seat N7 (sold as restricted view back row) but happy to consider any offers. Have it on e-ticket so can email over straight away. PM if interested
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7,509 posts
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Post by alece10 on Oct 6, 2019 16:05:47 GMT
Daniel Boys has said he is coming off social media for a while. Wonder if something ha happened.
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Post by theoracle on Oct 8, 2019 23:44:35 GMT
Must say I really enjoyed this this evening. Both Daniel Boys and Laura Pitt-Pullford were off so I got to see both covers and oh my days!! Both of them were PERFECTION in their roles as Marvin and Trina. I remember feeling lukewarm towards this cast during the West End Live production and was mainly keen to see Oliver Savile (wouldn’t have minded seeing even more of him if you know what I mean).
There’s a dodgy start with 4 Jews in a room but it keeps getting better as the show goes on. I quite liked the simplistic set and the projections were used well although they don’t look particularly high tech. Still, this piece is supposed to be set in the early 80s so I wasn’t bothered by it. At the end of the day, the music and lyrics gave Falsettos it’s reputation and a few decades on, William Finn and James Lapine can still be regarded as geniuses.
As I say I feel really lucky to have been able to see Natasha O’Brien who in my opinion was on par with Stephanie J Blocks Tony nominated portrayal of Trina. She found both heartbreak and humour at the best times and really embodied the essence of her character. Similarly Matthew McKenna seemed like the ideal choice to play Marvin and had very natural chemistry with Savile’s Whizzer. But perhaps a stand out was George Kennedy as Jason who received a very well deserved applause at the curtain call.
The show demands your attention and unless you’re willing to give it, you’re not going to enjoy it as much as those who do. The multi layered text is to die for in my opinion and the ending is soul shattering after watching how the characters grow and develop over the course of the show. Very glad I booked to see it this evening.
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316 posts
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Post by ABr on Oct 9, 2019 7:01:06 GMT
Must say I really enjoyed this this evening. Both Daniel Boys and Laura Pitt-Pullford were off so I got to see both covers and oh my days!! Both of them were PERFECTION in their roles as Marvin and Trina. I remember feeling lukewarm towards this cast during the West End Live production and was mainly keen to see Oliver Savile (wouldn’t have minded seeing even more of him if you know what I mean). There’s a dodgy start with 4 Jews in a room but it keeps getting better as the show goes on. I quite liked the simplistic set and the projections were used well although they don’t look particularly high tech. Still, this piece is supposed to be set in the early 80s so I wasn’t bothered by it. At the end of the day, the music and lyrics gave Falsettos it’s reputation and a few decades on, William Finn and James Lapine can still be regarded as geniuses. As I say I feel really lucky to have been able to see Natasha O’Brien who in my opinion was on par with Stephanie J Blocks Tony nominated portrayal of Trina. She found both heartbreak and humour at the best times and really embodied the essence of her character. Similarly Matthew McKenna seemed like the ideal choice to play Marvin and had very natural chemistry with Savile’s Whizzer. But perhaps a stand out was George Kennedy as Jason who received a very well deserved applause at the curtain call. The show demands your attention and unless you’re willing to give it, you’re not going to enjoy it as much as those who do. The multi layered text is to die for in my opinion and the ending is soul shattering after watching how the characters grow and develop over the course of the show. Very glad I booked to see it this evening. Fully echo pretty much everything you said! We were there Monday, and we didn't have Laura, so we had Natasha on, who I thought was sublime! The theatre was I'd say only about half full, granted it was a Monday evening, so it would be interesting to see how full it gets on 'busier' nights> Overall i thought it was a great production!
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Post by theatre241 on Oct 14, 2019 16:27:50 GMT
Does anyone know what the sides of the front row are like for this production?
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Post by Deleted on Oct 14, 2019 21:57:43 GMT
Does anyone know what the sides of the front row are like for this production? the theatre is tiny. Everywhere is fine.
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Post by edi on Oct 17, 2019 8:05:49 GMT
Todaytix has one of this flash £15 sales. I got row C.
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Post by Someone in a tree on Oct 17, 2019 8:36:39 GMT
Todaytix has one of this flash £15 sales. I got row C. Another example of a show getting great reviews from the printed press but it not selling very well
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544 posts
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Post by amp09 on Oct 17, 2019 8:54:53 GMT
Todaytix has one of this flash £15 sales. I got row C. Oh that’s annoying, as already bought tickets for tomorrow night. You win some, you lose some.
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Post by Mr Snow on Nov 1, 2019 22:48:22 GMT
Oh Drear.
One song/episode smashed into another - to keep the energy high just like a pop radio station. It wasn't just sung through, every note had a word on it.
The one exception was the breakdown song. It may not have been presnted the way it's "meant" to be done but it was the only "song". It had an instantly memorable melody and form, and yes it was funny too in contrast to everything else. Hats of to Ms P-P. After that I thought things might look up but no, I checked and somehow it was actually written by the same composer as the rest of the show.
Just informed Mrs. S. I left at the interval.
"Wow that must be your first time ever?" I'm struggling to think of another example...
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Post by Bickers on Nov 4, 2019 13:29:50 GMT
It's funny what different views people have. I saw the show for the second time on the 26th October and it was even better than the first time I saw it. Mendel seemed more neurotic and less pervy, and I'm Breaking Down was much less frenetic, and the reaction to it was better for it.
Elliot Morris was on as Jason and he was wonderful, such a powerful voice for one so young and, although his accent slipped a couple of times, his acting more than made up for it. Also Natasha O'Brien was on as Dr. Charlotte and, if you hadn't known she was the understudy, you'd never have guessed. Such a good voice, and I enjoyed her interactions with the other Natasha as Cordelia.
I dispute Mr Snow's claims that every note had a word on it, a number of the songs had intro music for instance. Act 1 in particular is very wordy but not every single note is sung on!
It is a shame you didn't stay for Act 2 as it is truly moving piece of theatre. Many sniffles and tears from all around me, including from my wife who was unsure about attending as she hadn't liked the music she'd heard before the show but was openly crying by the end and thought the show was excellent. Almost a full ovation from a mostly full theatre (I was near the back and could only see a handful of empty seats) and a very mixed audience divided well between the ages and genders.
I really recommend seeing this show before it closes if you haven't had the chance already.
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Post by intoanewlife on Nov 4, 2019 16:27:56 GMT
If someone wanted me to sit through this again they would need to strap me 'Clockwork Orange' style to the chair and ballgag my mouth...
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Post by adrianics on Nov 4, 2019 21:02:25 GMT
High drama at tonight's show - One of the actors has taken ill at the interval and, with the standby already on, they've had to bus an emergency replacement in...
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3,760 posts
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Post by anthony40 on Nov 4, 2019 21:30:40 GMT
Which actor?
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Post by intoanewlife on Nov 4, 2019 22:16:30 GMT
High drama at tonight's show - One of the actors has taken ill at the interval and, with the standby already on, they've had to bus an emergency replacement in... Someone really needs to stand up and yell 'get out now! get out while you can! don't do it to yourselves'...
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Post by frontrowcentre on Nov 4, 2019 23:02:11 GMT
Oliver Savile didn’t appear as Whizzer in act two. Matthew Mckena (Who was on as Mendel covering Joel Montague in Act One) went on as Whizzer in Act Two. Montague played Mendel In the second act which was delayed 15 minutes. Very interesting night at the theatre, never seen an understudy covering two main characters in one night. The guy did an amazing job. Really happy to have seen this before it closes.
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4,593 posts
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Post by Someone in a tree on Nov 4, 2019 23:11:56 GMT
Oliver Savile didn’t appear as Whizzer in act two. Matthew Mckena (Who was on as Mendel covering Joel Montague in Act One) went on as Whizzer in Act Two. Montague played Mendel In the second act which was delayed 15 minutes. Very interesting night at the theatre, never seen an understudy covering two main characters in one night. The guy did an amazing job. Really happy to have seen this before it closes. That's the magic of live theatre for you!
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544 posts
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Post by amp09 on Nov 5, 2019 0:00:31 GMT
High drama at tonight's show - One of the actors has taken ill at the interval and, with the standby already on, they've had to bus an emergency replacement in... Someone really needs to stand up and yell 'get out now! get out while you can! don't do it to yourselves'... Okay, we get you don’t like this show...
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