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Post by Deleted on Jul 3, 2019 11:58:36 GMT
Could be the next big hit like SIX... SIX's advantage was it was original music/concept. This is a jukebox based on a film, been done countless times before. BKL at the helm too, doesn't have me oozing with enthusiasm. Could end up eating my words mind.
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Post by marob on Oct 20, 2023 16:15:17 GMT
So apparently I followed this show’s Instagram at some point, and it’s teasing an announcement coming on Tuesday.
Where would it go? Other Palace or Turbine?
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Post by drfootlights on Oct 20, 2023 16:24:05 GMT
The Other Palace. Opens January.
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Post by Matt on Oct 20, 2023 16:45:58 GMT
Oh god this show is absolutely awful. You can see a recording of it on YouTube.
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Post by FJ on Oct 20, 2023 17:06:52 GMT
I saw this a couple of times at the Edinburgh Fringe in 2019 and actually really enjoyed it. It was camp, very tongue in cheek, but good fun. The cast were great but it did just feel a little amateur was my main criticism, so if they could choreograph it and stage it a bit better I think it could really work at The Other Palace. Will definitely book to see it.
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Post by Mark on Oct 24, 2023 9:06:45 GMT
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Post by zahidf on Oct 24, 2023 9:07:06 GMT
"Produced by Bill Kenwright Ltd and directed by Jonathan O’Boyle, with choreography and associate direction by Gary Lloyd, Cruel Intentions: The ’90s Musical will run at the Other Palace from 11 January to 14 April 2024. A press night is scheduled for 19 January."
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Post by Being Alive on Oct 24, 2023 10:03:13 GMT
I saw this at the Fringe - it's very bad.
Exactly what the Other Palace needs
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Post by Dr Tom on Oct 24, 2023 10:41:59 GMT
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Post by anthony40 on Oct 24, 2023 10:48:47 GMT
Disappointingly, another duke box musical.
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Post by BurlyBeaR on Oct 24, 2023 11:18:51 GMT
Merged
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Post by drfootlights on Oct 24, 2023 12:02:20 GMT
Not the only announcement to come out today from BKL…
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Post by marob on Oct 24, 2023 13:40:30 GMT
With that artwork I imagine a poster ban from TfL is inevitable.
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Post by Seriously on Oct 24, 2023 15:06:48 GMT
Not the only announcement to come out today from BKL… Quite!
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Post by Dave B on Oct 25, 2023 8:27:51 GMT
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Post by stevejohnson678 on Oct 25, 2023 8:42:01 GMT
Doesn't seem to be much exclusive about that, other than they're charging more than if you book direct with The Other Palace.
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Post by richey on Oct 25, 2023 9:01:07 GMT
This sounds dreadful. How many more films are they going to pillage for 'inspiration'
The press release made me cringe "It’s an amazing show with a soundtrack loaded with all the greatest ‘90s guilty pleasure songs. Even people who hate musicals will love it!”
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Post by Dr Tom on Oct 25, 2023 10:34:09 GMT
This will fit right into The Other Palace. The music choice isn't really an era I enjoy though.
But let's face it. This is only there for a few months until the new term of Heathers starts.
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Post by danb on Oct 25, 2023 10:54:31 GMT
I’ll wait for casting first.
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Post by bigredapple on Jan 12, 2024 9:45:04 GMT
Has anyone seen this?
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Post by capybara on Jan 12, 2024 11:00:12 GMT
Does anyone know if there will be an in house rush ticket offer?
I know TodayTix will be doing one but with Heathers, that was very hard to get tickets in such a small theatre and the Friday rush on TOP website was much better.
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Post by Dr Tom on Jan 13, 2024 12:26:37 GMT
Let me add the first set of comments on the London production.
I got a Rush ticket yesterday (second preview), row K of the Stalls, a good clear view of both the stage and the people dancing in their seats, taking video, shouting random objections at the on-stage activity etc. This is more jukebox musical crowd that Heathers crowd.
This was sold out, and I arrived at 7:25pm to join a packed front of house area. They started letting people in around 7:40pm and the show started around 7:50pm. Finished around 9:10pm (with an interval).
There's a lot to this show thematically that matches Heathers. Partial nudity, themes of sexuality, a setting before most of the audience were born, tragedy, alumni in the cast etc. There's even a diary/journal (and you can scramble around to complete your collection of souvenir promotional pages at the end). If you ever thought that Heathers set took up too much of the stage, this is solved here, as everything is minimalistic, allowing the revolve to be used. The style does suit the production. You can see the band at the side of the upper level (smaller than Heathers, I think).
Where this doesn't match is Heathers is that show has its witty moments and aspects of black comedy. Here, the laughs come when the audience recognise a song that has been slotted into a rather odd position in the show.
I have no recollection of ever having seen the film, so I got rather confused by the cast and hadn't realised they were all playing teenagers until near the end. There was one point where I assumed there was a mature music teacher taking advantage of an underage girl, when the music teacher casually announced he was 19. I also struggled a bit about when this was meant to be set. This was an age where some people were apparently just getting used to AOL, but others were on email all the time, and mobile phones were much more portable than I remember. Dramatic licence, perhaps?
I was a teenager in the 1990s, but I can't say I took to a lot of the music. I did expect to recognise more than half of it. That's probably my failing though, as I say the same thing about other jukebox musicals.
The highlight is easily Rhianne-Louise McCaulsky. She has a powerful voice and it's a joy to listen to her sing. Josh Barnett lights up the stage and looks fabulous with his new blond hair as well.
Otherwise, I would be quite keen to see this again now I've figured out what's going on, but I didn't feel an emotional connection with any of the characters. Everything is serviceable, but the limitations are with the material. Hopefully the sound team will have had a bit more chance to practice the microphone cues as well.
I'd go with 3 stars. This has a chance of getting an audience and becoming another long-runner, but my bet would be slightly against that happening.
I did feel a bit sorry for the crew member who was poised at the front with a camera at the end ready to capture the instant standing ovation for the publicity videos. He had to stick with filming the stage instead.
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Post by FrontroverPaul on Jan 13, 2024 15:56:47 GMT
I'm surprised there's an interval with such a short running time. 7.50 start, 9.10 finish, assuming 20 minute interval that makes just an hour performance time.
I'm at the matinee next Thursday and was planning to add an evening show (via Rush with a couple of back ups if unlucky) but three and a half hours to fill between the shows this time of year isn't appealing !
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Post by Dr Tom on Jan 13, 2024 18:30:55 GMT
Sorry, I think it was a 9:50pm finish. From memory, the information outside said 45 minute first half, 40 minute second half, but I think this ran slightly longer. Or maybe it took more time to get seated than I wrote.
It could easily be presented without an interval.
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Post by c4ndyc4ne on Jan 13, 2024 18:46:12 GMT
got to get that bar £!
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Post by theatregoer22 on Jan 13, 2024 19:11:57 GMT
Had a quick look at the soundtrack and there are a lot of songs I love on there, so I could well be tempted to see this if I have some spare time and it's easy enough to get discounted tickets.
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Post by Steve on Jan 13, 2024 19:16:12 GMT
I'm surprised there's an interval with such a short running time. 7.50 start, 9.10 finish, assuming 20 minute interval that makes just an hour performance time. Yes, I just saw the matinee and it ran from 2:35pm to 4:35pm, including a 15 minute interval at about the 55 minute mark (3:30pm to 3:45pm). I really enjoyed this! The main plot isn't particularly well-structured, only really kicking into overdrive in the last half hour. But various subplots, particularly those involving an absolutely hilarious Rose Galbraith, are very enjoyable along the way. The 90s songs are great fun, and when the main plot does kick into gear, I felt the show really worked. Some spoilers follow. . . This is a version of "Les Liaisons Dangereuses," which I am mostly familiar with from Christopher Hampton's versions, the play and the film, though I did see the "Cruel Intentions" movie back in the day. This version is the least dramatic in the motivations and attitudes of the principals. The utter world weariness of John Malkovich's film Valmont, desperate for a last chance at genuine feelings, and the aging desperation of Glenn Close's Merteuil were powerful drivers of drama in the "Dangerous Liaisons" movie, which was lost in its transfer to teen characters in "Cruel Intentions," where the characters come over as mere sociopaths. But at least in the "Cruel Intentions" movie, Ryan Phillipe's Valmont was cloaked with an air of redemptive vulnerability beneath the sociopathic behaviour, from early on, which created a growing dramatic tension between himself and Sarah Michelle Gellar's ice cold possessiveness. Here, however, the two sharklike, manipulative, predatory principals are almost devoid of any dramatic heat, for the first half of the show, an Ice King and Ice Queen it's almost impossible to care about. Luckily, we care about all the other characters, most of all, Rose Galbraith's Cecile, who both principals plan to use and exploit, and who proves to be MUCH funnier, and more endearing, than her counterparts in any of the aforementioned plays and movies. Galbraith taps into that conjunction of genuine relatable feelings (she's learning about her sexuality for the first time) together with a camp irrepressible OTT exuberant expression of those feelings (from eye-averting shyness to bug-eyed curiosity to crazed zany horniness to curt clipped worldly wisdom) such that she is hilariously impossible to victimise (she's having too much fun to be a victim, even if the principals want to make her one), which makes her a perfect comedy character counterpoint in a stage entertainment. After Galbraith, Josh Barnett is almost as much fun as Blaine, a gay friend of Valmont, who, like Cecile, is just having so much fun being alive that he's perpetually entertaining. After the interval, the magnificent frosty hauteur of Daniel Bravo's absolute Ice King of a Valmont pays off at last, and pays off big in his rendition of Counting Crows' masterpiece, "Colorblind," where his cold ice cracks and colours of genuine feelings finally flood in, for Abbie Budden's Annette Hargrove, playing off him wonderfully, his countenance flooding with emotions. Sometimes something that seems not to work early on can pay off wonderfully later, and this moment is like that, as I felt tears come on in appreciation that an uncrackable veneer had been cracked, the poetic lyrics "Pull me out from inside, I am ready," perfectly expressed. Although her character is thin, Rhianne Louise-McCaulsky's voice is not, easily the most powerful singer on stage, so rousing to listen to, especially when she is playing villain to more likeable characters, like Galbraith's Cecile, who she seduces in a delightfully playful, corrupt and amusing version of Christian band, Sixpence None The Richer's "Kiss Me." Anyhow, the drama works especially well in the last half hour, the 90s songs were nostalgic and pleasing for me throughout (I saw half those bands live lol), the ensemble are generally terrific, and Rose Galbraith's comic antics are very funny, as is the performance of TLC's "No Scrubs" by Jess Buckby, which merited at least one more refrain lol. I'd give this 3 and a half stars.
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Post by lotster on Jan 25, 2024 18:15:07 GMT
I saw this today with a rush ticket. Happy to have seen it (for that price) but wouldn't want to pay much more. I'd give it 3 stars. It's not awful, but it's not amazing. Rhianne-Louise McCaulsky is great in the lead. Her vocals are really impressive and she gives a performance which is sassy, sexy and powerful. I liked the male lead too and imagine he'll have a decent career. The rest of the cast and ensemble were fine, but very "drama grad". I like juke box musicals, so I enjoyed hearing the 90's songs, but it's very much about teenage sex, so not the most sophisticated of storylines.
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Post by kyvai on Jan 25, 2024 23:44:25 GMT
Well, I really enjoyed this and I’m a bit surprised as I went in with minimal expectations!
Full disclosure the film definitely falls into “cult classic” territory for me - I was 16/17 when it came out and we had the VHS on repeat for months at teen sleepovers - and when I rewatched it recently turns out I could quote along almost all of the memorable lines…. “How are things down under?” “You can put it anywhere….” etc. Also, there’s at least 5 of my all-time favourite songs in this, whilst it was discombobulating at first to hear 90s “alternative” tracks musical-ified (Placebo, Garbage, GooGoo Dolls), in the end it works. It’s like Heathers and &Juliet got together and adopted a trashy, camp, 90s “I’m not like the other kids” teen.
Yes there are some laughs drawn from dropping the songs as punchlines…..but they worked. Kinda á la &Juliet in that respect, although it’s more like the slutty bitchy cousin to &Juliets more wholesome message!
No it isn’t deep and meaningful, the movie wasn’t either. It’s superficial, fun and trashy but it is very good at what it is. The vocal performances were all on form, and apart from a few minor sound glitches (mics not being on in time for lines) everything seemed technically pretty slick. I think there are perhaps a more comedy beats to be drawn from the script if some lines were directed a bit differently, and that they may as well steer fully into it, but really those moments were few.
I might go back if I’m able to whilst it’s on, I’d recommend it if you like other movie adaptations & jukeboxes and take it for what it is, although maybe watch the movie first if you don’t know it, it’ll probably make more sense to you.
I’m somewhere between 3 and 4 stars. I’ve left the theatre feeling upbeat and entertained so that’s a positive!
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Post by jackstage on Jan 26, 2024 10:51:22 GMT
What do people reckon about the show's future? Might it extend at The Other Palace?
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