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Post by scarletmood on Apr 19, 2024 16:56:41 GMT
Ironically Sheridan would be perfect casting for 2:22. Does anyone think this could happen?
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Post by Jon on Apr 19, 2024 16:59:37 GMT
Would we rather than empty dark theatres rather than have shows that can fill in at short notice? For all other things to transfer, they need time both in terms of having a chance to recoup and also marketing. Something like Just For One Day is not going to be able to come in for eight weeks because it is financially unviable in the timeframe of making the show suitable for the Gielgud and getting a cast ready by the end of May, start of June.
Opening Night is closing because audiences aren't interested and the ones who did go for the most part didn't like it. It's show business at the end of the day and Delfont Mackintosh can't be choosy at the end of the day since they had it booked out until the end of July. In terms of Heathers @sohoplace, it's on Nica Burns for having to scramble to find a show to replace Red Pitch not the producers of Heathers.
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Post by danb on Apr 19, 2024 17:42:58 GMT
Exactly. We can bemoan things that we like not finding an audience, or compare them to their replacements, but the numbers don’t lie. Our critical minds mean nothing if nobody is interested in the product. Big names guarantee nothing; Michaels Ball & Crawford have both had Shaftesbury Avenue flops recently and now Sheridan.
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Post by thistimetomorrow on Apr 23, 2024 13:42:02 GMT
I didn't massively enjoy this, but I am glad I saw it. I liked the Act 1 closer and the Next to Normal ghost hand held microphone number Nancy does in Act 2.
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1,214 posts
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Post by Steve on Apr 27, 2024 17:17:06 GMT
The critic, Lizzie Loveridge posted the full song-list on her blog: theatrevibe.co.uk/2024/03/27/review-opening-night-gielgud-theatre-2024/I think it helps to know it. . . Spoilers follow. . . Act One:- Overture One Shot Magic One Shot (Reprise) Talk to Me Humming Chorus One Trojan women Humming Chorus Two A Change of Life I Forgive you Meet Me at the Start Life is Thin Act Two:- Trying To Makes One Wonder Moths to a Flame Married Humming Chorus Three This Isn’t A Game Anymore The Pantomime The Second Woman There Is Something to Be Said For Being Young Ready For Battle Magic (Reprise) Finales
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Post by Steve on Apr 27, 2024 17:52:56 GMT
I just love the songs for this show. I think Rufus Wainwright is the star of this production, along with the cast who sing these songs. I saw the show again on Thursday night, and the songs are just magnificent, in my opinion. Some spoilers follow. . . Van Hove's direction is still tilted toward intellectualism over emotionalism, brilliantly Brechtian in the way he stages life as a boring sh*t show. Like looking at the Earth as a blue dot from outer space, it all looks like nothing much is happening, characters milling around with their back to you much of the time, in the wings or back stage. So if you paid the big bucks to see the stage up close, of course you're saying "WTF!" But like on the blue dot, if you look closer, there are big emotional moments happening everywhere, and that's what the big screen predominantly does, it shows you that other perspective where all the dots on the dot are involved in what they consider big moments, noone more so than Sheridan Smith's Myrtle. Of course, the Documentary Crew is just an excuse to set this up, because in fact the screen documents the big moments and revelations whether the Documentary Crew are present or not. Maybe it would have been better to scrap the Documentary altogether, and just acknowledge that the stage/screen contrast is to represent the dichotomy of the way we look from space versus how we seem to ourselves. It's a brilliant idea, but for audiences who come in knowing nothing about Cassavetes' difficult-but-rewarding navel-gazing art film, about creativity and the aging process, it's a bit rich to make the theatre show even more alienating than it needs to be. I think it's an idea that improves every time you rewatch the show, but with 80 percent (a guess based on the poll above) of audiences getting alienated, it's unlikely they'll be back for that. But getting to hear the songs again, they just get better and better and better, and I thought they were great to begin with lol. They are songs of survival: how to deal with lost youth, how to face death, what role art plays in life, how to be vulnerable, how to communicate, how to face loneliness, how to psyche yourself up. I really love them. If I can't bring myself to give the show 5 stars, I can certainly say Wainwright's songs are in the 5 star category for me, because the music and the lyrics are in such symbiosis, and the meaning is so vastly more useful to me than in so many other musicals I've seen.
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Post by bigredapple on Apr 27, 2024 18:06:27 GMT
The critic, Lizzie Loveridge posted the full song-list on her blog: theatrevibe.co.uk/2024/03/27/review-opening-night-gielgud-theatre-2024/I think it helps to know it. . . Spoilers follow. . . Act One:- Overture One Shot Magic One Shot (Reprise) Talk to Me Humming Chorus One Trojan women Humming Chorus Two A Change of Life I Forgive you Meet Me at the Start Life is Thin Act Two:- Trying To Makes One Wonder Moths to a Flame Married Humming Chorus Three This Isn’t A Game Anymore The Pantomime The Second Woman There Is Something to Be Said For Being Young Ready For Battle Magic (Reprise) Finales Humming Chorus One, Two, and Three. Christ.
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Post by Steve on Apr 27, 2024 18:47:48 GMT
Here's my Numbers 6-10 of my Top 10 songs in this show, in case anyone wanted to know lol:- 8 - 10: Shira Haas's Nancy's songs:- She sings "I Forgive You," "This isn't a Game Anymore" and "There Is Something to Be Said For Being Young." 10. "This isn't a Game Anymore:-" Since Nancy only exists in Myrtle's head, this song is about Myrtle grasping for her youthful confidence in the midst of middle-aged paralysis. The key line I remember is "I'm a train you either ride Or get out of the way of" lol. 9. "I Forgive You:-" Myrtle has her psychotic break during this song (Nancy actually sings "Myrtle, you deserve a break"), in which, like a child with an imaginary friend, she imagines Nancy comforting and protecting her, and generally making like a haunting imaginary Bob Marley, as the key line I remember is "Don't you worry about a thing." 8. "There Is Something to Be Said For Being Young:-" In this song, as Myrtle finally decides to grow up, the Peter Pan side of herself decides to play her fiercest cards, summoning up all the best things about youthful bravado ("There is something to be said for being wrong") and experimentation ("trying to figure out Where you belong"). It's a fiercely heavy reverb-heavy rock song, which involves screens within screens that replay and replay the motions of Myrtle's mind. Haas is so impish and ferocious, representing the youth we want to hang on to! 7. "Moths to a Flame:-" John Marquez's compassionate Producer character muses with Myrtle on what it is about creativity that draws them both to being artists, despite getting burned again and again and again. He suggests that:- "Underneath the fires of hell Is a little heaven Underneath the pit of despair Is a little haven" Marquez really nails a compassionate human being who doesn't have all the answers. The beauty of the song is that he doesn't know what or where that "heaven" is, leaving his "moths to a flame" metaphor lingering mysteriously and magically in the air. 6. "Ready for Battle:-" "The World is Broken, My heart is open" sings Myrtle, as she tries to summon up the energy it takes to battle her demons. She finds strength ultimately in other people, especially her ex-husband who she loved and lost. She kisses him on the cheek as a mark of letting byegones by byegones, and releasing negative energy. A key line I remember is "It's only together That we can save each other" And only after reconnecting with other people is she "Ready for Battle." Gotta watch a show. Back later for my Top 5 lol.
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Post by Steve on Apr 28, 2024 6:07:36 GMT
Back to my (hopefully helpful) spoilery countdown of my favourite songs in "Opening Night:-" Number 5: "The Pantomime:-" The Pantomime is definitely one of my favourite songs in this show. Sung by Hadley Fraser's Director character, Manny, he agrees with John Marquez's Producer that artistic creation is a "heaven" and a "haven." But being a bossy know-it-all, he goes MUCH further in his diagnosis of art as the solution to life's ills. This song is the equivalent of Henry V rallying his troops on St Crispin's Day: "We few, we happy few, we band of brothers; For he to-day that sheds his blood with me Shall be my brother; be he ne’er so vile, This day shall gentle his condition: And gentlemen in England now a-bed Shall think themselves accursed they were not here." (Shakespeare, Henry V). "We are the lucky people," says Manny, referring to the rehearsal room, which for him, is the "haven" that the Producer talked about. "Here we are shaking hands Breaking hearts and making friends Not alone in the world today" Manny sings, drawing a contrast between those lucky people inside the artistic process and those lonely, long suffering folks outside the rehearsal room: "And outside is a mean time People die over painted lines There ain't much Going on out there Compared to all the love in here." The principal play on words of the song is that all of us outside the rehearsal room are suffering a "mean time," while in the "meantime" its all "band of brothers" in the rehearsal room: "But in here in the meantime All is well if you know your lines." The more that Manny stirs up his troops, the more the music builds to a Henry V style crescendo. "Out there its just a puppet show" he tells his troops, as the audience arriving at the Gielgud is broadcast arriving at the theatre on the screen behind him, and he cheekily gestures to us in the audience: "Look outside, its just a Pantomime." His arrogant conclusion that WE, the audience, are the pantomime, and that only those on the inside of the artistic process are REAL, is ironically the financial downfall of this show, as art demands customers, and customers have opinions lol. But overall, this song is a beautiful ode to the community of art-making, with its metaphor that absolutely nothing else matters because it's all just "a pantomime."
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Post by Steve on Apr 28, 2024 10:48:48 GMT
My (hopefully helpful) spoilery countdown of my favourite songs in "Opening Night" continues. . . Number 4: "Trying To:-" In the early previews, this song ended the first half, deflating the tension of "Life is Thin." It's much better as the second half opener, a tender affirmation of the value of the individual, a way for Sheridan Smith's Myrtle to explain herself and to rebuild herself. It's called "Trying to" because it's more about struggle than success. It's about the difficulty of knowing who we are, who we want to be, and "trying to" be better versions of both. Functionally, Myrtle is "trying to" get to grips with her part in the play within the play, but Wainwright goes much deeper: "I'm just trying to break free Into some reality." It's like an existential version of Queen's "I want to break free." The music, however, is the opposite of Queen's shoutiness, but rather is a lullaby, whereby it gently rocks the listener from side to side, as if in a cradle. It is saying it's ok to not be ok, to be "trying," even if you don't know how. Ostensibly, Myrtle's tenderness is toward the character she is playing when she sings "Yes though she may Not be me She is still A somebody." But in reality, she is singing about getting older, no longer recognising either the younger, or posited older version of herself, as herself. She is singing about the constant morphing of identity. She knows she is worthwhile, "a somebody," but doesn't know who that is. The song soars in it's repetition, when the ensemble join, like in "Frere Jacques" in a round of it. This unleashes the true power of the song: it's not just Myrtle who has difficulty of knowing who they are and who they are supposed to be, at any given moment, but everybody. So simple, so touching, so profound.
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Post by mrbarnaby on Apr 28, 2024 18:04:27 GMT
Steve.
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Post by sph on Apr 28, 2024 20:30:52 GMT
We're going to have to remove Steve's mask scooby doo-style here to find out he's Rufus Wainright aren't we?
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Post by scarletmood on Apr 28, 2024 20:59:42 GMT
We're going to have to remove Steve's mask scooby doo-style here to find out he's Rufus Wainright aren't we? He'd have got away with it if it wasn't for those meddling theatre fans.
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Post by mrbarnaby on Apr 28, 2024 22:07:09 GMT
Steve (Rufus)- NEVER WRITE A MUSICAL AGAIN PLEASE.
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Post by adamkinsey on Apr 28, 2024 23:15:21 GMT
We clearly need to stage an intervention on Steve.
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Post by Steve on Apr 28, 2024 23:19:12 GMT
Steve (Rufus)- NEVER WRITE A MUSICAL AGAIN PLEASE. I could have made magic out of tragic if it wasn't for pesky Mr Barnaby. "I don’t know about you, but I intend to write a strongly worded letter to the White Star Line about all of this." I gotta gotta gotta gotta gotta. . . yes, my third favourite song from this show is 3. "Magic:-" This song is a jack-in-the-box of joyous and joyful advice about creativity, jumping poetically out of dark fears and feelings. As such, it's a great song to listen to if you want to create something. The song begins in downbeat musings to threatening, rumbling, descending musical notes: "I wouldn't say I was beautiful I try to be That was my hope I guess." But then, the brightest banjo-chirpy strings smash away all doubts: "You got to make magic Magic out of tragic We are the sunshine that defines the moon It takes a long time for the stars to get here Don't want to miss it In your dressing room." The metaphor of creative inspiration flying through space like stars, which we can only catch if we decide to leave our "dressing rooms," is simply gorgeous and gorgeously simple, much as the magic/tragic rhyme is memorably simple and simply memorable. But it's the fact that "we are sunshine" who can take hold of the doomy moody "moon" inside us that is truly inspiring! And its not enough to be told by your parents or teachers you can do it, you gotta show up (Carpe Diem): "So when they tell you Tell you that you're able Yeah when they tell you Tell you that you can Still you got to make magic Or you shouldn't even be here Wasting the precious Precious time at hand." The song is positive affirmations to the highest degree, as those chirpy strings and celebratory trumpets make stopping procrastination and actually doing sh*t sound like the most fun in the world lol! "My mother warned me about Broadway's light But now I'm here and I have never ever felt so right Yeah you gotta do it Yeah you gotta do it!" *Ignores the pesky theatre kids, puts the Steve (Sondheim) mask back on, and posts the sternly worded letter to the white star line* And the band played on. You gotta make magic. . .
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Post by jay78uk on Apr 30, 2024 9:12:00 GMT
Finally made my way to the Gielgud last night. It was a memorable night for lots of reasons. Its unusual to attend a show where there’s been so much negative press. You could feel the apprehension and uncertainty in the auditorium ahead of the show starting in a way I have not experienced before. The theatre was reasonably full, with all three levels open- which surprised me for a Monday night. There was a medical emergency towards the end of the second act- following Myrtle wresting with Nancy, a poor chap was hyperventilating but fortunately did not require medical assistance. The show stopped for five minutes and theatre staff and cast handled the situation calmly and professionally. To the show itself, it was far less of a mess than I anticipated! The quality of casting shone through… I’ve never seen SS live and found her captivating. I took the time to watch the original film a few weeks ago, and am glad I did as I’m sure it helped me understand what was going on throughout… but that having been said, the subtitles on the screen certainly would have helped the uninitiated. I’m a big Rufus Wainwright fan so was a bit surprised that, to my ears at least, that some of the music didn’t work, but that having been said much did… especially Myrtle’s opening number ‘Magic’, the closing second act number and ‘Pantomime’. I thought the curtain call brilliant… it captured the relief and celebration following their opening performance, contrasting with all the anguish and (back stage) drama leading to it. I did find some of the direction mystifying- pre-recorded footage seemed unnecessary and distracting, especially when it didn’t sync with live action (which seemed throughout, with the exception of one scene) and the footage of the audience entering the Gielgud gimmicky- they should have stuck with Broadway or London as the setting, but not mixed the two. I am sure this show will go down in Westend history- how so much money could have been spent on such a niche production is a mystery to me- it just feels incomprehensible that anyone with any sense wouldn’t first watch the film its based on- that would be enough for any right minded individual wishing to make a profit or, at the very least recoup their investment, run a mile! That’s not to say I find the film without merit- far from it- it is a searing portrayal of an actress struggling to come to terms with a role and herself- but its niche in the extreme, very dated in its misogyny and largely bereft of narrative structure. It feels to me that most negative reaction associated with his show is largely down to the film its based on… I would advise anyone who wishes to see its final performances to watch the film first (its free on youtube!) and then decide.
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Post by Steve on Apr 30, 2024 17:19:02 GMT
My second favourite song in "Opening Night" is 2. "Talk to Me:-" It is a song for the lonely and lost. It's a song that can only really be appreciated if you see the show, as Van Hove does a LOT with it, but as its likely now that most people will never see it, I'll describe it below. . . Spoilers follow. . . A 19 year old fan is run over, and Myrtle is shaken. She wants to have a drink with her ex-husband, Maurice, for old times' sake: "Talk to me I'm trying to tell you something Open up your ears And hear what I want to say There isn't anyone else but me here There isn't anyone else whose listening." (I think that bit was sung acapella). Maurice leaves Myrtle by herself, as he goes offstage to join the others for dinner. She's all alone. A high pitched wind instrument starts to ascend in up and down waves, as if approaching to comfort her. Then lower pitched alternating fast-played rumbling piano keys form a warm aural embrace around this lonely broken woman, as she sadly sings: "One More Dream That will not come true." A close-up of her face appears on the left of the big screen, looking right. Somewhere offstage, her unlikeable ex-husband is lonely too. His image now appears on the right of the big screen, looking left, as if he is looking at Myrtle. He sings: "One More Wish That has fallen through." In reality they are both alone, wishing they were talking. In the fantasy world of the screen, they ARE talking. They both realise they are alone, and now sing their loneliness passionately into the void: "Always waiting on a corner In New York somewhere Caught between the border Of hell and high water." That passion is a bridge to repeat the main phrase of the song: "There isn't anyone else but me here There isn't anyone else whose listening." The phrase has changed its meaning. When first sang, it meant the couple had the quiet to talk if they were willing. Now it means the only person they are talking to is themselves. Myrtle calls the hospital and discovers her fan has died. Now, in the foreground of the stage, the director, Manny (Hadley Fraser) and his wife (Amy Lennox) have their own argument. She wants to talk: "Talk to me I'm trying to tell you something Open up your ears And hear what I want to say There isn't anyone else but me here There isn't anyone else whose listening." He's not interested, and she starts insulting him. Now Sheridan Smith's Myrtle and her ex, Maurice, sing again of their loneliness: "One More Dream That will not come true One More Wish That has fallen through." But this time the director and his wife join them in a round of this chorus, four lonely people singing alone yet also singing together only through the magic of theatre. The bridge engulfs them all, singing together, loudly and more desperately, alone but together, yearning: "Always waiting on a corner In New York somewhere Caught between the border Of hell and high water. . ." Together they all sing the main phrase of the song: "There isn't anyone else but me here There isn't anyone else whose listening." The phrase has changed its meaning again. First, it was a request to talk privately, then it was a confession of loneliness, but, now, when all 4 characters make the same confession together, it shows the universality of loneliness, which, if everyone feels that way means that noone is truly alone at all. They are all just experiencing the human condition, which includes loneliness. The music and the lyrics and the direction are all in perfect sync for this one, which is why, in my opinion, it's a perfect theatrical moment.
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Post by theatrelover123 on Apr 30, 2024 18:17:49 GMT
My second favourite song in "Opening Night" is 2. "Talk to Me:-" It is a song for the lonely and lost. It's a song that can only really be appreciated if you see the show, as Van Hove does a LOT with it, but as its likely now that most people will never see it, I'll describe it below. . . Spoilers follow. . . A 19 year old fan is run over, and Myrtle is shaken. She wants to have a drink with her ex-husband, Maurice, for old times' sake: "Talk to me I'm trying to tell you something Open up your ears And hear what I want to say There isn't anyone else but me here There isn't anyone else whose listening." (I think that bit was sung acapella). Maurice leaves Myrtle by herself, as he goes offstage to join the others for dinner. She's all alone. A high pitched wind instrument starts to ascend in up and down waves, as if approaching to comfort her. Then lower pitched alternating fast-played rumbling piano keys form a warm aural embrace around this lonely broken woman, as she sadly sings: "One More Dream That will not come true." A close-up of her face appears on the left of the big screen, looking right. Somewhere offstage, her unlikeable ex-husband is lonely too. His image now appears on the right of the big screen, looking left, as if he is looking at Myrtle. He sings: "One More Wish That has fallen through." In reality they are both alone, wishing they were talking. In the fantasy world of the screen, they ARE talking. They both realise they are alone, and now sing their loneliness passionately into the void: "Always waiting on a corner In New York somewhere Caught between the border Of hell and high water." That passion is a bridge to repeat the main phrase of the song: "There isn't anyone else but me here There isn't anyone else whose listening." The phrase has changed its meaning. When first sang, it meant the couple had the quiet to talk if they were willing. Now it means the only person they are talking to is themselves. Myrtle calls the hospital and discovers her fan has died. Now, in the foreground of the stage, the director, Manny (Hadley Fraser) and his wife (Amy Lennox) have their own argument. She wants to talk: "Talk to me I'm trying to tell you something Open up your ears And hear what I want to say There isn't anyone else but me here There isn't anyone else whose listening." He's not interested, and she starts insulting him. Now Sheridan Smith's Myrtle and her ex, Maurice, sing again of their loneliness: "One More Dream That will not come true One More Wish That has fallen through." But this time the director and his wife join them in a round of this chorus, four lonely people singing alone yet also singing together only through the magic of theatre. The bridge engulfs them all, singing together, loudly and more desperately, alone but together, yearning: "Always waiting on a corner In New York somewhere Caught between the border Of hell and high water. . ." Together they all sing the main phrase of the song: "There isn't anyone else but me here There isn't anyone else whose listening." The phrase has changed its meaning again. First, it was a request to talk privately, then it was a confession of loneliness, but, now, when all 4 characters make the same confession together, it shows the universality of loneliness, which, if everyone feels that way means that noone is truly alone at all. They are all just experiencing the human condition, which includes loneliness. The music and the lyrics and the direction are all in perfect sync for this one, which is why, in my opinion, it's a perfect theatrical moment. Baffling
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Post by Steve on Apr 30, 2024 18:35:02 GMT
Baffling. Lol. I'm sorry. *Checks Steve (Sondheim) mask is on.* It's such a good song. Don't let my baffling explanation put you off. There's still about another 20 performances, and you can experience it for yourself:) *Checks noone is looking and removes mask*
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Post by theatrelover123 on Apr 30, 2024 18:52:46 GMT
Baffling. Lol. I'm sorry. *Checks Steve (Sondheim) mask is on.* It's such a good song. Don't let my baffling explanation put you off. There's still about another 20 performances, and you can experience it for yourself:) *Checks noone is looking and removes mask* Oh I very much experienced it for myself about a month ago That’s why I found your post quite so baffling
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Post by marinusnl on May 1, 2024 12:29:55 GMT
Saw the show last week. Started about 10 minutes late and SS sounded like she had a cold in the first few songs. Does every show starts late? Does she always sound a little bit off in the first songs? Could be directed this way...
(My first post on this board. Looked for an answer, couldn't find it.)
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Post by jr on May 1, 2024 21:59:40 GMT
This was bad but not as terrible as I feared.
I feel sorry for the actors. Some of the scenes and songs (those lyrics) are hard to pull off.
The character of the dead girl is particularly annoying and the fight scene between her and Myrtle was preposterous. Hadley Fraser was a disappointment; I'm not an expert in accents but at times he sounded like a bad imitation of Martin Scorsese. He also looks a bit like a young Rufus (not the current Aldi's Walt Whitman incarnation), not sure if this was on purpose.
I did like J Hepburn who was playing Sarah this eve and I think Sheridan Smith did what she could with the material given.
Not sure if it happens every night but the scene where the dead girl is not shown on the screen while the actor is on stage moving around was quite out of sync; it looked very silly. I could see in my head Mr van Hove's smug smile thinking how clever he is showing us simple people that the girl was a ghost. And like that, most of it.
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Post by fluxcapacitor on May 2, 2024 6:52:28 GMT
Finally saw this yesterday afternoon, more out of curiosity than anything, with very low expectations. My god it’s bad. The material is in no way ready, and that’s only elevated by the bare design which makes it all feel like a try-out of a second year drama school devised musical. I do give them kudos for giving context to the material on the screens. The documentary works really well for the first 20 minutes or so, but then the concept is largely forgotten and the screen becomes a gimmick.
Overall I found it quite a frustrating watch because there IS a good idea at the very core of it, and I can see exactly why Sheridan Smith was drawn to it with the parallels to her own experiences giving it the potential to be a cathartic star turn. But they’ve utterly failed her and I feel bad for her because she - as always - is so enthralling. With stronger material here she could have really shone.
There are bad lyrics and awkward prose galore, but what hit me most in the material was how repetitive the songs are. Choruses are repeated ad nauseum with the actors having to create their own intents and emotions over lyrics that often have nothing to do with what they’re trying to portray. Some of the songs by themselves are nice enough to listen to, but they’re ultimately pop songs and hardly ever push the plot or emotion forward so actors are left making each repeat more intense than the previous chorus because… that’s all they can do. He’s an incredible songwriter, but writing a musical is a totally different beast. Wainwright needed guidance here by someone who understands the art form, and it’s naïve and arrogant of the creative team to assume they didn’t need to work more on the material before subjecting it to such a big stage.
Most frustrating to me was the irony throughout: the main character is literally struggling with material that doesn’t work and more than once declares that it “has to make sense”. How they failed to heed the warning at the core of their own material is baffling.
Having said that, the cast are incredible. Especially Smith and Nicola Hughes as Sarah, both working their arses off to convey meaning and emotion even when they’re having to battle the material itself to do so. Hats off to them, but I do feel sorry for them - with better material they wouldn’t have to work this hard.
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Post by fluxcapacitor on May 2, 2024 7:53:27 GMT
I hope it doesn't create too much of a precedent whereby the more daring and out there shows can't really find a space, but I'm not surprised they're pulling the plug on it much sooner than originally planned... Just re-reading some of the thread now that I've seen the show and felt I wanted to pick up on your valid point here. I, too, hope the failure of Opening Night doesn't put anyone off giving new and experimental theatre a chance; but crucially I hope producers, financial backers and theatre goers in general realise this new show isn't failing because it's "daring and out there". It's failing because it's a bad musical that was flung on stage and exposed to a paying audience long before it was ready.
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Post by sophia on May 2, 2024 10:23:10 GMT
I saw The Cherry Orchard at the Donmar Warehouse last night and it started with about 5 mins of someone hoovering the stage…
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Post by ladidah on May 2, 2024 10:36:14 GMT
A trend!
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Post by mistertonymac on May 2, 2024 10:54:08 GMT
Here We Are (the last Sondheim show, in NYC) also started with Tracie Bennett hoovering onstage!
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Post by Being Alive on May 2, 2024 11:43:03 GMT
Mean Girls might be improved with some hoovering
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Post by Paulw on May 3, 2024 9:30:03 GMT
You can see it coming a mile off with the theatre cosplayers going dressed as a hoover!
Me personally I am going to revisit this and go dressed as the dead fan so there might be another empty seat!
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