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Post by jgblunners on Apr 5, 2017 11:55:07 GMT
Just nabbed a seat in the middle of Dress Circle Row F - slightly perplexed as to why its £15 when the seats behind a pillar in the same row are £25, but I figured it will probably be better than the £15 seats in the higher levels.
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Post by jgblunners on Apr 4, 2017 17:18:16 GMT
On Thursday I'll be at the matinee of The Glass Menagerie and the evening performance of The Life!
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Post by jgblunners on Apr 3, 2017 19:46:40 GMT
How was Danielle's 'Hopelessly Devoted' and 'Sandra Dee reprise?' Both really good - I knew she was a good belter after seeing her as Eponine, but she showed off a really beautiful and controlled head voice in Hopelessly Devoted. Some solid acting in Sandra Dee reprise, clearly trying to bring the best interpretation out of the slightly dodgy 'I'm going to change myself so the boy likes me' plot, plus a nice 'let it rip' moment towards the end. My only comparison here is the movie, so if you've seen the stage version a lot you may have a different opinion, but I thought she was really excellent.
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Grease
Apr 3, 2017 19:01:57 GMT
Post by jgblunners on Apr 3, 2017 19:01:57 GMT
I did end up seeing this in Oxford - you're bang on, Danielle is excellent but Tom is quite poor. He doesn't act at all and just about manages with the vocals but isn't particularly strong. The girl playing Rizzo (can't remember her name, sorry) acts well but needs a bit more oomf in her voice. Ensemble are brilliant though, particularly the T-Birds - Kenickie and Doody are particularly notable for their amazing vocals. The show is pure cheese, with choreography to match, but that's kinda what I expected from Grease. I'm glad I saw it as it was really good fun and did actually have moments where the show was very strong, but I wouldn't hurry back unless someone good was cast as Danny.
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Post by jgblunners on Apr 2, 2017 20:41:19 GMT
The advert played in the cinema before Beauty and the Beast when I saw it in Oxford, and I was confused as I recognised Willemijn but was pretty sure that the Glinda wasn't Suzie Mathers - thanks for pointing out that it's the German cast! I didn't really like the trailer, thought the voice-over wasn't written very well and they should've just used clips from the show.
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Post by jgblunners on Apr 2, 2017 13:45:32 GMT
Has anyone heard any rumours about a cast recording, or should just buy the 2001 Broadway recording now?
Is the 2001 recording still available?. I know at one point it was out of print. In any case it's a great recording - the only difference between it and the Drury Lane production is Boulevard of Broken Dreams which has been added here.
I had a quick look and there are a few sellers on Amazon who have put up second hand copies. I imagine it's way too early to judge if they'll bother with a recording for this production, but since there's only one song been added I may as well get the 2001 version.
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Post by jgblunners on Apr 2, 2017 13:31:00 GMT
I do agree that the 'showstopper' in AAIP does seem rather mundane after you've seen 42nd Street!
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Post by jgblunners on Apr 2, 2017 12:57:28 GMT
I was very much thinking it was a 4 star show up until the big ballet section in act two - that's what gave it that special touch for me and tipped it over to 5 stars in my opinion. But then I'm a fan of ballet so it's hardly surprising - for theatregoers who aren't ballet fans or aren't familiar with ballet, it probably won't have the same effect and I can totally understand why people wouldn't think it worthy of 5 stars. I am a massive ballet fan I thought AAIP Was as much real ballet As matthew bourne Hardly Petipa or Ashton There is way better Dance than this I think it's unfair to compare this to classical legends like Petipa and Ashton - AAIP doesn't pretend to be classical ballet, it's quite clearly a blend of different styles. Yes, there is better dance than this, but this isn't purely a dance show. That may be the main attraction, but there's much more to it than that.
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Post by jgblunners on Apr 2, 2017 12:50:05 GMT
Has anyone heard any rumours about a cast recording, or should just buy the 2001 Broadway recording now?
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Post by jgblunners on Apr 2, 2017 12:40:47 GMT
I was very much thinking it was a 4 star show up until the big ballet section in act two - that's what gave it that special touch for me and tipped it over to 5 stars in my opinion. But then I'm a fan of ballet so it's hardly surprising - for theatregoers who aren't ballet fans or aren't familiar with ballet, it probably won't have the same effect and I can totally understand why people wouldn't think it worthy of 5 stars.
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Post by jgblunners on Apr 2, 2017 11:56:25 GMT
I actually didn't think the book was that bad. True, it mostly just serves to carry the show between the big numbers, but it was quite funny and I don't think it was badly written.
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Post by jgblunners on Apr 2, 2017 11:15:16 GMT
Just discovered this: www.theatreclub.co.ukApparently they offer discounted tickets plus special events and post-show Q&As for £30 a year membership fee. Is anyone on here a member? Would you recommend it?
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Post by jgblunners on Apr 2, 2017 9:18:41 GMT
This morning I succumbed to the temptation and booked for a return visit - managed to nab A1 in the stalls for a show towards the end of April. I was in the Grand Circle yesterday so looking forward to seeing things up close!
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Post by jgblunners on Apr 2, 2017 9:16:23 GMT
Am curious to hear your thoughts guys, and I warned people to not read so please don't come at me for spoiling it haha. I agree that she should stay alive - Act Two is pretty depressing, so the show really needs something at the end to lift the audience's spirits and inspire a bit of hope. Also, her revival is what prompts the segue into the Finale, which is really beautiful and would no doubt be a whole lot more depressing if it had to reflect on Mimi's death rather than her coming back. The moment Mimi wakes up is very difficult to do well, but I agree that Philippa got it spot on and didn't go over the top.
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Post by jgblunners on Apr 1, 2017 22:16:12 GMT
Really loved this tonight - it's such a lovely show. Suave and sophisticated. The design is brilliant, and the use of projections is very effective, creating a rich setting without having to use big set pieces that clog the stage and remove space for the choreography. Speaking of which, the choreography is mesmerising - stylistically it's a beautiful blend of classic and modern ballet with a bit of a musical theatre touch too.
The principals are all extremely good, and David Seadon-Young's comic acting is superb. We had the 1st Cover for Henri tonight - his first full show after having to make his debut in the role half way through today's matinee! He was very good, but I can't help but wonder whether Haydn Oakley makes a little more of the role. Some good comedy from Jane Asher and lovely vocals from Zoë Rainey. The ensemble are terrific - all clearly accomplished dancers. Unfortunately the ensemble here, while precise by any normal standards, pale in comparison to the 42nd Street ensemble, who were perfectly in time with every minute movement they made.
However, the show really belongs to Robert Fairchild and Leanne Cope. Any time either one is on stage, it's hard to take your eyes off them, and when they dance together it's truly astounding. They are so in sync (which I suppose is to be expected after playing the roles in France and on Broadway before coming over here) and seem effortless in their incredible dances. Their pas de deux in Act Two was magical, and by far the highlight of the show for me.
My only complaint is the sound - maybe it was just an off night, but the orchestra were rather quiet at times when you really wanted a bit of oomf from them, and the balance in the vocals fluctuated a lot.
Overall, a unique and stylish show which deserves to be successful but may struggle to find an audience. If it can, though, it could be a wonderful catalyst for uniting fans of ballet and musical theatre and bridging the gap between the two. 5 Stars from me!
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Post by jgblunners on Apr 1, 2017 16:53:39 GMT
Don't know how to break this to you jgblunners, no giving an spoilers here but Act 2 has a massive Wow! factor yet to follow I think I know what you're talking about (I'll put it in a spoiler below) - I spent the whole show waiting in anticipation for it to appear and when it did I was certainly not disappointed. In fact, the whole of the titular number is just crazy and such a showstopper!
I assume you mean the staircase? Of all the brilliant set pieces, that was just the most wonderful. I genuinely got shivers when it appeared.
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Post by jgblunners on Apr 1, 2017 16:51:06 GMT
Well there's nothing I can say that hasn't already been said, but surely this is the most spectacular show the West End has seen for many years? Unbelievable. The quality of the choreography, the sets, the lighting design, costume design, orchestra... everything is nop notch. If there's any show that deserves the rapidly hiking price of a ticket in the West End, it's this one. Even at top premium price, you would definitely be getting your money's worth.
I need to say something about the cast - there is not a weak link in there. All the principles are fabulous, Clare Halse is bursting with talent, and the ensemble are note perfect and move like they are all one person! I've never seen a show before where I genuinely couldn't see any weakness in the casting.
5 Stars without doubt, and fingers crossed for a nice batch of Olivier Awards next year!
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Post by jgblunners on Apr 1, 2017 14:54:36 GMT
Interval of the matinee and all I can think is WOW. I've never seen anything like this before. Even though we're only half way through, I'd give Sheena Easton and Clare Halse their Olivier nominations right now, and probably put a good bet on Stuart Neal and Jasna Ivir getting nominated too. Full thoughts will follow after act two, but honestly I can't see any way to find a fault with this show.
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Post by jgblunners on Apr 1, 2017 11:37:18 GMT
I don't know if it's in the Broadway version, but I always wondered how they did the paper aeroplane trick. I'll put my question under a spoiler just in case: I swear the plane took exactly the same trajectory every time I saw the show, and went much higher in the theatre than it should have, but try as I might I couldn't spot a wire or anything that it could've been attached to, even from the front row! Was it just very well hidden, or was the trick done another way? Or was there no trick at all and the kids were just incredibly good paper plane throwers!
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Post by jgblunners on Apr 1, 2017 9:16:54 GMT
Well I'm seeing the matinee of 42nd Street and the evening performance of An American in Paris today, so I'll be very interested to see how they compare!
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Post by jgblunners on Mar 31, 2017 23:36:24 GMT
Are the £10 pyramid tickets only available to ATG members at present? I booked one for the New Wimbledon Theatre earlier and I'm not an ATG member, so I assume anyone can book!
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Post by jgblunners on Mar 31, 2017 20:36:56 GMT
Great thanks, shall take a look at those links. Been on the look out for the "Bare - Pop Opera" cast recording but it's about £40 on amazon I think you can still get the two discs separately on iTunes for about £7.99 each - still expensive but less than £40!
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Post by jgblunners on Mar 30, 2017 11:16:41 GMT
I sat in A23 for Charlie and the Chocolate Factory - I'm 6'2" with most of the height in my legs and I found it bearable. To be fair I didn't have anyone in A24 next to me so had a bit of extra room to play with. The view's amazing and as long as I'm enthralled by the show (which I was for Charlie and imagine everyone will be for this), I tend to find that I can put up with my legs being in mediocre comfort!
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Post by jgblunners on Mar 30, 2017 8:49:29 GMT
I seem to be among the minority who absolutely loved everything about the West End version and didn't think anything should be changed. I'm sad to see it's been so butchered as I thought it was a wonderful adaptation of the book, although I appreciate that many people were comparing it to the Gene Wilder film and feeling it didn't live up to it. I liked the subplot with the homeless person even if it was a bit obvious.
I thought the music in particular was brilliant, and I don't think it needed any more songs from the film as it was quite clearly meant to be an entirely different version. I see that they've moved 'pure imagination' away from the glass elevator scene and added a new song there. Bad move in my opinion - that song is magical and fits that scene perfectly.
By no means do I wish this bad luck on Broadway, but I think they should've stuck with the version that played here and if this indeed turns out to be the version that tours the UK, I think I'll give it a miss to preserve my happy memories of the original West End run.
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Grease
Mar 29, 2017 17:34:13 GMT
Post by jgblunners on Mar 29, 2017 17:34:13 GMT
Anyone seen this yet? Thinking of picking up a cheap ticket for Friday when I move back to Oxford - tempted by Danielle Hope and by the fact I'm not aware of any complaints about Tom Parker yet...
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Post by jgblunners on Mar 29, 2017 10:11:56 GMT
Has anyone done the Student rush tickets on Wednesdays? What time would you recommend arriving to get one? The website says that they officially only start selling them from 6:30, so that's when I turned up a few weeks ago. I got a seat without any problems, but I think they were nearly sold out so the guy I spoke to at the box office had to get his manager over to check it was still ok to sell me a student ticket. I'm not sure if they would sell them before 6:30, so I guess it's up to you if you want to get there earlier - likely to be more ticket availability, but I don't know how strict they are about the 6:30 start.
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Post by jgblunners on Mar 28, 2017 12:27:16 GMT
Rachel's last show though, it was amazing that alot of the feedback on here was like "thats it, im done, I never have to see it again, that was it!". And tbh, if that was my last ever time seeing it, I would be happy with that as the final show. But it is the musical that keeps luring back with these damn castings! That being said, once Willemijn leaves, we need a new Elphaba in London. At peast with the Glinda's and Fiyero's, it does tend to be new people taking on the role, and even though I think Oliver will leave (even though he is the best Fiyero), id be perfectly happy to see him and Suzie stay! But we need a brand new Elphaba. Hopefully someone younger, who can breathe new life into the role that we haven't seen for a few years now in London as since 2014 when Willemijn initially left, it has been a continuous stream of people who have played the role for a long time. Yes it's interesting that casting can make such a difference that it brings people back even when they thought they would be done with a show. I guess it's a mark of the calibre of performers that we see in these roles. Totally agree about getting a new Elphaba - I hadn't considered her until someone on here mentioned her name, but I'd really love to see what Samantha Barks could do with the role. I would hate to lose Suzie as she's just so wonderful (no pun intended) and while Oliver is fantastic I really wouldn't be surprised if he wanted to move onto something new.
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Post by jgblunners on Mar 28, 2017 11:12:08 GMT
Really must go back to see Willimjn again. I haven't been back since Rachel's last show (mainly because that was one of the best times I have seen it and it will be very difficult to top). But also, having been slightly underwelmed over her the first time round in 2013/2014, I wanna see if I can get out of it the thing everyone goes on about. She was amazing, but I didn't take away from the performance I saw that she is the best Elphaba in the world or anything. And I am sure she will be amazing this time too. I'm in the same position, although I haven't seen Willemijn before. I'm nervous to return after being blown away by Rachel's last show, but I really want to see both Willemijn and Alice.
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Post by jgblunners on Mar 27, 2017 14:01:02 GMT
A very dancey double show day for me on Saturday - 42nd Street matinee, then An American in Paris evening. Very excited about both!
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Post by jgblunners on Mar 27, 2017 13:59:13 GMT
Wow, this sounds amazing! Never heard of any of those performers before but Joanna Woodward sounds like she has an incredible voice! I'm not familiar with this show at all, but the more I hear about it the more excited I am about seeing it next week 😄
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