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Post by Someone in a tree on Apr 4, 2022 12:37:45 GMT
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404 posts
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Post by dlevi on Apr 5, 2022 7:33:33 GMT
I saw this last night and agree with almost everyone's assessment that the show is bonkers, but it always has been, that's why it is and always will be a cult item. A lot of the score is simply ravishing but 90% of the book simply doesn't make sense. This production specifically is enthusiastically performed and Alex Young is a delight but everyone else is just weird in their own individual way. If you've never seen the show before, you should see it just to tick that box on your Sondheim chart. But if you've seen it before in other productions, I don't think this one isn't going to illuminate the show for you in any way.
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Post by singingbird on Apr 5, 2022 9:01:08 GMT
Well, it's a big thumbs up from me! I actually think this production makes the show work, because it plays up the absurdity to the max. It's like being caught up inside a children's television show (particularly one from the 1960s - Banana Splits, say) that has gone completely off the rails.
Weirdly, the show is both completely of its time and way ahead of its time. You wouldn't focus on mental health in the same way in a piece of writing now (although, to be fair, the whole point is that none of the people who are being called 'mad' have real mental health problems, and they're certainly not any madder than those who deem themselves sane), but I think that audiences in 1964 just weren't ready for an absurdist musical, and they're probably still not ready now, sadly.
It's very much in keeping with a lot of early 1960s plays, like The Bedsitting Room or The Knack, both of which are from a couple of years early. I doesn't surprise me that Laurents wanted to have a go at translating that approach to musical theatre. The irony is that, while musicals by their essentially absurd heightened nature should be the ideal medium for this kind of theatre, musical theatre audiences tend to be very conservative.
While the show does kind of run out of steam a bit towards the end, and things get a little repetitious, the sheer playful audacity of the piece is stunning. This production scores high on nearly every count. My only major quibble is that Alex Young's singing didn't always cut through in the sound mix. Highlight performance for me was Chrystine Symone, who was absolutely incredible in the complex role of Nurse Apple.
Personally, I think this show should be seen as a major, ground-breaking piece of work that happens not to be to everyone's taste, rather than a failure with a good score.
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Post by ThereWillBeSun on Apr 5, 2022 11:46:51 GMT
I was there last night too! ABSOLUTELY BONKERS. Alex Young looks like she's having the best time - utterly hilarious and I really hope she gets nominated for an Olivier one day. Chrystine Symone has a beautiful tone as well and enjoyed her performance. The sound mixing was a bit off at times didn't quite catch some moments. Glad I caught this one.
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885 posts
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Post by lonlad on Apr 6, 2022 9:09:42 GMT
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Post by marob on Apr 6, 2022 10:54:05 GMT
Saw it yesterday afternoon. Sound was a bit off, struggled to make out the singing a few times over the music, and yes, it is bonkers, but I really enjoyed it. I can see how it wouldn’t work in a big theatre, but I’m surprised it’s not done more often in smaller venues.
Will have to finally get around to reading the two ‘Hat’ books. Don’t get why There Won’t Be Trumpets was cut from the original, it’s a real stand out moment. Some knowing laughter at the mention of being alive, though it’s “you can’t judge a book by it’s cover” that made my ears Pr**k up.
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Post by FrontroverPaul on Apr 6, 2022 11:45:53 GMT
Saw it yesterday afternoon. Sound was a bit off, struggled to make out the singing a few times over the music, and yes, it is bonkers, but I really enjoyed it. I can see how it wouldn’t work in a big theatre, but I’m surprised it’s not done more often in smaller venues. Will have to finally get around to reading the two ‘Hat’ books. Don’t get why There Won’t Be Trumpets was cut from the original, it’s a real stand out moment. Some knowing laughter at the mention of being alive, though it’s “you can’t judge a book by it’s cover” that made my ears Pr**k up. Me too. I was the chap in the front row who was asked to say a few words in act one. Another board member was sitting close by and was approached to participate in a conga but politely declined. We encouraged the lovely lady sitting between us to join this forum ! I can only agree with your and the other comments. It's a very entertaining couple of hours, well-performed, some strong musical numbers, lots of fun but must be judged as a revival of a show which is very much of its time. I'd compare it to parts of the Rowan & Martin Laugh Ins which were around at about the same time. I think the Evening Standard review is a bit unfair about a show which well deserved to be seen again despite content that wouldn't be acceptable if written today. A few people left at the interval but I'd say the vast majority of the audience would give it an overall thumbs up. I often feel that the music in smaller theatres overpowers the singing at times. I'm not sure if it's worse because I'm usually in the front row of the stalls. I also struggled to hear some of the lyrics yesterday
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232 posts
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Post by singingbird on Apr 6, 2022 13:07:34 GMT
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Post by stevemar on Apr 6, 2022 15:03:56 GMT
I’m afraid I didn’t really enjoy this. Yes, it was played in a way which was OTT and the storyline is a bit bonkers, but didn’t engage me and I didn’t really care for any of the characters. I realise some Sondheim’s are like this (Assassins) but I prefer something I can relate to (Merrily We Roll Along or Company).
So, sorry 2 stars from me. I’d say about 5-10% of the audience left after the interval. Partial standing ovation, so a marmite show. Glad I saw it though.
I enjoyed the performance by Alex Young (the Mayoress), the cast worked hard and one or two slight tuning issues (I’d prefer not to name the cast members).
I was in row B and same side (across the aisle) at the same performance as Marob, Paul26 (who spoke his lines with enthusiasm and aplomb), and the other lady board member who I thought was quite brave to decline the conga. Some young chap had the Mayoress on his knee twice.
I’m sure there were two famous actor faces front row on the opposite side of us, but I couldn’t name them or think what I’d seen them in (men in their 50s or so).
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Post by Daffodil on Apr 6, 2022 17:46:56 GMT
Well I was not expecting to be asked to dance - but I wish I had now! Nice to meet Paul26 and I’m glad he enjoyed the show, as I did. It was certainly different from anything I have seen before but in a good way.
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140 posts
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Post by FJ on Apr 6, 2022 19:11:20 GMT
I’m hoping to go and see this tomorrow evening and just looking at seats. Can anyone who’s been already tell me if there’s any benefit of sitting towards either side of the Theatre (the single digits and high 40’s seat number end, or the mid-20’s end?)
Just wondering if there’s set pieces at one particular end of the avenue that might mean a better view from towards the other end.
Thanks!
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Post by FrontroverPaul on Apr 6, 2022 19:25:46 GMT
I’m hoping to go and see this tomorrow evening and just looking at seats. Can anyone who’s been already tell me if there’s any benefit of sitting towards either side of the Theatre (the single digits and high 40’s seat number end, or the mid-20’s end?) Just wondering if there’s set pieces at one particular end of the avenue that might mean a better view from towards the other end. Thanks! It's played on a long platform type stage with the audience on both sides so I'd say the view is equal from both ends though I always choose a central seat if available. Just avoid the front and maybe the second row if you don't want to be asked to speak, dance, have your hair touched or have someone sit on your lap !
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140 posts
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Post by FJ on Apr 6, 2022 19:51:54 GMT
I’m hoping to go and see this tomorrow evening and just looking at seats. Can anyone who’s been already tell me if there’s any benefit of sitting towards either side of the Theatre (the single digits and high 40’s seat number end, or the mid-20’s end?) Just wondering if there’s set pieces at one particular end of the avenue that might mean a better view from towards the other end. Thanks! It's played on a long platform type stage with the audience on both sides so I'd say the view is equal from both ends though I always choose a central seat if available. Just avoid the front and maybe the second row if you don't want to be asked to speak, dance, have your hair touched or have someone sit on your lap ! Perfect, row C for me then! Thank you!
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Post by ThereWillBeSun on Apr 6, 2022 23:07:51 GMT
I do agree with some of the points. BUT. I did enjoy it, in the sense I did laugh out loud so much just kinda rolled with it.
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1,267 posts
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Post by mkb on Apr 7, 2022 20:18:32 GMT
Is the evening show coming out at/before 21:50, as per website? I've had two shows at this venue that were 25 minutes longer than the published running time, so I'd like some actual experiences.
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140 posts
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Post by FJ on Apr 7, 2022 21:25:20 GMT
I was there this evening and it came out at about 22.04. Was a few minutes late starting and then was a few minutes later starting post interval, too.
Differing from the usual marmite opinion, I didn’t love it but I didn’t hate it.
As everyone has said, it is knowingly nuts.
Some great performances, especially from Alex Young, but I have to admit compared to some things I’ve seen at the Southwark, it at times felt a bit amateur.
The book didn’t make much sense, and most of the songs were fairly forgettable, but I still actually enjoyed the show and am glad I went.
One thing that was really interesting was with the traverse staging, you can obviously see the audience on the opposite side, throughout, and with this type of show you get to watch the real mix of people with some having the time of their lives and some clearly regretting coming.
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Post by Deal J on Apr 8, 2022 7:27:15 GMT
One thing that was really interesting was with the traverse staging, you can obviously see the audience on the opposite side, throughout, and with this type of show you get to watch the real mix of people with some having the time of their lives and some clearly regretting coming. If they haven't numbered the traverse seating as "Side A" and "Side 1", they've missed a trick!
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Post by theoracle on Apr 8, 2022 7:31:15 GMT
I think this really appealed to the crazy side of me so found myself very much engaged with this. Alex Young is clearly a superstar and owns the stage whenever she’s on. I wanted to add that I was also really impressed by George Ranckom’s direction; having only directed a handful of shows before, this is really promising to see. The songs are beautifully performed and well-choreographed too. The traverse audience was a nice touch as well, especially for group 1/group a scene. Lastly, I think Jordan Broatch is the actor to watch - his portrayal of Hapgood really tickled me and I think he’s going to have a very exciting CV over the next few years. As others have said, it’s not going to appeal to everyone but if you go, go with an open mind.
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Post by juicy_but_terribly_drab on Apr 8, 2022 9:20:59 GMT
I think this really appealed to the crazy side of me so found myself very much engaged with this. Alex Young is clearly a superstar and owns the stage whenever she’s on. I wanted to add that I was also really impressed by George Ranckom’s direction; having only directed a handful of shows before, this is really promising to see. The songs are beautifully performed and well-choreographed too. The traverse audience was a nice touch as well, especially for group 1/group a scene. Lastly, I think Jordan Broatch is the actor to watch - his portrayal of Hapgood really tickled me and I think he’s going to have a very exciting CV over the next few years. As others have said, it’s not going to appeal to everyone but if you go, go with an open mind. Hey just fyi Jordan uses they/them pronouns. So happy with all these positive write-ups on here, very excited to see this and knock another Sondheim off the list!
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Post by Mark on Apr 8, 2022 22:55:36 GMT
Loved it! Great score, great production and as others have mentioned - totally bonkers.
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4,596 posts
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Post by Someone in a tree on Apr 9, 2022 7:24:35 GMT
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4,631 posts
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Post by Phantom of London on Apr 9, 2022 11:55:06 GMT
Did I see sitting with your partner sitting on the aisle last night?
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4,596 posts
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Post by Someone in a tree on Apr 10, 2022 9:02:29 GMT
Did I see sitting with your partner sitting on the aisle last night? Row row B on the band side of the aisle? That was me.
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4,631 posts
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Post by Phantom of London on Apr 10, 2022 10:38:56 GMT
Oh I thought that was you. I was the other side virtually underneath the band!
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Post by theoracle on Apr 11, 2022 10:57:14 GMT
I think this really appealed to the crazy side of me so found myself very much engaged with this. Alex Young is clearly a superstar and owns the stage whenever she’s on. I wanted to add that I was also really impressed by George Ranckom’s direction; having only directed a handful of shows before, this is really promising to see. The songs are beautifully performed and well-choreographed too. The traverse audience was a nice touch as well, especially for group 1/group a scene. Lastly, I think Jordan Broatch is the actor to watch - his portrayal of Hapgood really tickled me and I think he’s going to have a very exciting CV over the next few years. As others have said, it’s not going to appeal to everyone but if you go, go with an open mind. Hey just fyi Jordan uses they/them pronouns. So happy with all these positive write-ups on here, very excited to see this and knock another Sondheim off the list! You’re absolutely right. They are a star and I can’t wait to see them in Lift and in more shows going forwards.
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Post by anthony40 on Apr 12, 2022 12:01:24 GMT
Am there tonight. If anyone else is there, feel free to say hello
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Post by Dr Tom on Apr 19, 2022 18:49:19 GMT
Attended this afternoon, managed to pick up a late front row seat, but thankfully spared most of the interactive elements.
I've long thought Alex Young one of the UK's best actors and this view continued here. Real command of the stage.
The show itself benefits from a diverse cast, but there are good reasons this isn't performed often, not least that making fun of people with mental health problems could (and likely should) be considered highly offensive. Still, you can't fault the cast for giving it their all, and excellent work with the improvisations to cover things going wrong (or someone walking out midway through the first half).
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Post by mkb on Apr 20, 2022 14:26:12 GMT
Is it any closer to the 2:20 advertised running time, or still 2:34 as previously reported on here?
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3,791 posts
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Post by anthony40 on Apr 20, 2022 15:46:06 GMT
Saw this on Tuesday nigh.
I was fun- completely bonkers (but I expected that- but fun.
An incredibly hard working cast an ensemble.
Another sondheim that I can tick off the list.
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Post by apubleed on Apr 22, 2022 18:10:35 GMT
I saw the show at Encores with Donna Murphy (Cora), Raul Esparza (Hapgood) and Sutton Foster (Fay). I don't think much of the show but thought it was probably the best they'd ever get out of it. Until now! While there is no comparison in terms of vocal abilities of that Encores! cast, I just think the show works so much better with this production's tone of being somewhere between a child's cartoon and an improvised comedy skit as well as being in a small space. It's a bit cringe to think about well-seasoned broadway performers taking on this material - but with a young fresh cast it is completely different. I think the most interesting and unique choice was the casting and direction of the cheeky boyish meterosexual 'Hapgood' that is a cross somewhere between a Timothy Chalamet vibe and a young adult TV sitcom and the title character from Pippin (usually it's a middle aged man leading stereotype). On paper it sounds like it shouldn't work but actually I think it really changes the tone of the show and suddenly makes the character more interesting and compelling as well as provide a fabric for all of these silly characters to revolve around.
Example moments that I thought worked so much better compared to Encores: * Having a scrappy ensemble with all different shapes and sizes but are very talented. Imagine Donna Murphy being flanked by the most professional, attractive and amazing NYC dancers you've ever seen - it's just so much less funny than Alex Young having these funny people on her side. * The LGBTQ subtext of the ensemble added subtext to lines such as 'I was a manly little fellow' (or whatever it was) and the capturing of Cookies - they haven't added this but they really have managed to bring out layers that never existed * The whole blending in with the audience and not being able to distinguish between us and them just works so well in this small space
There is also very complex choral work going on there and the ensemble just smashed it.
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