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Post by frankubelik on Dec 30, 2017 7:19:38 GMT
"I just can't see why a director would want to portray the character as someone who would not have passed the audition to be a Weisman Girl." Exactly my point about the horrible miscasting of Imelda (plus she really has no vocal tone!)
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Post by frankubelik on Dec 28, 2017 9:15:33 GMT
This just adds weight to my theory that NO show is ever "sold out" in advance. As an ex- theatre pro, in my day box offices HAD to have "holds" which were usually released on the day of performance. These were for producers, investors, named talent etc plus their OWN keeps for any last minute problems. I cannot imagine this practice would have declined in any way. Ticket agencies make mistakes and seats have to be kept back for any unforeseen problems. Can you imagine refusing a "star" seats to a production they are appearing in?
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Post by frankubelik on Dec 18, 2017 7:36:14 GMT
Help/question. Can anyone tell me what the Dress Circle "slips" are like please? Had a hell of a time (like most I guess) finding anything decent when booking opened & thought these might be good. Since the refurbishment I am unsure........Seats are numbered A5-8. Thanks in advance.
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Post by frankubelik on Dec 6, 2017 5:37:18 GMT
Oh dear I am rather dreading this. I do not want to mix with the cast pre-show..............I know it's panto season, but really?
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Post by frankubelik on Dec 6, 2017 5:34:46 GMT
Very pleased to see Julia McKenzie being very justly praised for her near perfect performance. She moved me to tears every one of the ten times I saw that production. For me nobody has reached Diana Rigg's level of insouciance in performance. She was terrific.
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Post by frankubelik on Dec 3, 2017 21:05:56 GMT
The term is "rip off". It never existed years ago when seasoned theatregoers knew (and box office staff) that 6th or 8th row centre stalls or front row dress were the "best" seats encompassing house seats and producer's priorities. These could be booked, when available without a penalty. The fact that canny and experienced punters can book THE KING AND I for £75 (first five rows in the stalls) whilst exploiting "best" seats at £125 is an insult. Buyer beware.......
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Post by frankubelik on Nov 17, 2017 18:13:12 GMT
Another unpopular post but.......the live screening only highlighted the excruciating vocal inadequacies of the majority of the cast. The sound was truly awful too. Dominic Cook told us it had taken a year to cast this....what a waste of time!
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Pitch
Nov 11, 2017 18:11:54 GMT
Post by frankubelik on Nov 11, 2017 18:11:54 GMT
Interesting listening to Patti LuPone live CD from 2017 where she largely remains vocally intact. Nobody here seems to be able to provide such vocal consistency.
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Pitch
Nov 11, 2017 18:07:01 GMT
Post by frankubelik on Nov 11, 2017 18:07:01 GMT
Great example of the aging voice. Lea sounds great but Ruthie is a disaster.............Give in gracefully. A la Julia McKenzie.
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Post by frankubelik on Nov 11, 2017 17:51:11 GMT
Sorry, but I don't "get it". She covered a notorious non-singer and I guess the audience were delighted to hear it sung - at what price who knows? Her voice is not good. Vibrato out of control and pitch incredibly irregular and it (latterly) is not a pleasant sound at all.....I am sure she is a nice woman but does not deserve the apparent praise lauded upon her. Had she not courted controversy over Close, who would YOU have cast in this tour which I gather is not doing well. Where are the proper singers these days? I can only rate Kerry Ellis (who needs to work on her Theatrical persona) and lady-in-waiting Rebecca Trehearn - who I pray will listen to reason.
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Post by frankubelik on Nov 7, 2017 16:52:06 GMT
That TV "special" was appalling on Every Possible Level. The woman has talent as an actress but someone needs to tell her to STOP SINGING.
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Post by frankubelik on Oct 28, 2017 15:58:39 GMT
Julie Armstrong covered young Phyllis in the second cast at the Shaftesbury. And of course Liz Izen played young Sally in Leicester - would love to see her take on Sally. Would be nice to hear it properly sung........................
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Post by frankubelik on Oct 22, 2017 7:56:28 GMT
I hear from a pretty reliable source it's Me and My Girl. Zzzzzzzzzzzzzzzzz
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Post by frankubelik on Oct 21, 2017 4:12:13 GMT
I am curious to know if you would have paid £90 to see her? I wrestled with my conscience but decided against it. I am also curious about the six comps; etiquette still probably demands discretion but there appeared to be very little availability up to the day of the concert. I am aware of "keeps", "holds" and "house seats" and had thought these might be released online which begs the question how much of the house was papered? As an ex-Theatre professional I was lucky enough to get comps for everything in the West End and also know that nothing is ever "sold out". Can't quite believe I passed on a comp to see KC at the Donmar (pre-Wicked) as I wasn't fond of her squeaky voice.......
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Post by frankubelik on Oct 20, 2017 10:58:49 GMT
Linzi played Angel at the Leicester Haymarket with a fabulous performance from Kathryn Evans as Anna. There was a poor production at the Orange Tree in Richmond with Gay Soper. Good to see it resurface.
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Post by frankubelik on Oct 3, 2017 6:12:12 GMT
Really good fun. Quite different to Broadway (which I saw) and some numbers repositioned. Cast largely great - Hadley sounds terrific and Summer quite sublime. Ross Noble cannot sing but seems naturally funny; Pilkington not great but the role has been cut down - she never convinces (for me in anything she does). It's a bit cheap looking and would benefit from a couple of extra ensemble members, but no matter. Overall very enjoyable.
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Post by frankubelik on Sept 7, 2017 5:25:47 GMT
Much as I wholly disagree with these reviews, what does it matter? The show is sold out and will not transfer. Quentin Letts really is a poor reviewer though - to call the faded opera singer a "hoofer" is rather pathetic and Billington's day is clearly over. I had to snigger at his comment about Imelda's voice dissolving at the end of Losing My Mind - it's because she can't sing it!!!! I have been rather pleased to see some posters here agreeing with my previous comments though which I had thought would be very unpopular.
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Post by frankubelik on Sept 2, 2017 16:00:51 GMT
Saw this last night and came away so very disappointed and have spent the day trying to formulate an appropriate reaction. Overall it is undercast, poorly sung, badly directed, staged and lit. There is little cohesion between scene and song - it desperately needs a show doctor. Oddly for this show, the men emerge and register much more strongly than the women - both are more than fine. Imelda has no soprano range and "fakes" the rest; Janie cracked on every top note and Tracie needs to stop channeling Garland. The latter is never believable as a movie star and can never lose her innate low class personality. Was Dawn Hope really miming during "Who's That Woman?" and did Sally and Phyllis really bring their tap shoes to the party? Why were we allowed to see them change into these before the number? Why was young Phyllis so much part of "Lucy & Jessie"? Thank God for the Strallen though as she saved the number but it is wrong. Why did the "Beautiful Girls" come down a fire escape? What happened to the party guests? They disappear after their respective "turns". I could never once believe Ben's feelings for Sally both then and now. No interval is good but portions of the show feel rushed (Ben's breakdown for example). I think Imelda faces over exposure now; she has been found out at last. She is a Very Good Actress but starting to repeat herself and vocally lacking in tone. As ever here I will be in the minority but have had to put my honest thoughts out there.
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Post by frankubelik on Aug 29, 2017 6:34:26 GMT
Having seen the 1987 version twelve (yes 12) times as a callow youth with the same obsessions as others now posting on this board, it was flawed but fabulous. Diana Rigg did indeed dance in "Who's That Woman?" but a back injury put her out of the number later in the run. Her costume and wig were also softened. Special mention for Julia McKenzie's Sally who broke my heart on every occasion; she was amazingly consistent and vocally stunning live. Kathryn Evans deserved a better production but she comes a very close second and gave a nuanced performance (and is a great dancer too!) and Mary Millar in Kerryson's Leicester production was also superb. (Liz Izen played young Sally and is now in the RNT version - perhaps she is covering Imelda?) The Landor version was a wonder and extremely well cast; there was a "pro-am" version in Northampton (with the late Louise Plowright and Alex Giannini) and I even went to Madrid to see it done in Spanish! I am nervous about my forthcoming visit and cannot help take my baggage and casting doubts with me. We shall see.
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Post by frankubelik on Aug 23, 2017 17:40:09 GMT
Interesting that after preview #1 there is scant mention of the performances. Leads me to think they aren't "there" yet. Mind you, some will never be........
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Post by frankubelik on Aug 12, 2017 7:36:17 GMT
How refreshing to hear something properly sung in the correct style for the piece. (Minority opinion here but) I struggled with Nunn's RNT version and have always found the piece overlong (like many R&H shows) but this seemed very fresh and bright. The five leads pretty prefect and sounded wonderful. I could have done without Belinda Lang's one note shouting though! Orchestra not bad too...........
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Post by frankubelik on Jul 12, 2017 14:21:07 GMT
Yes. It is also a piece which has eluded me over the years and four productions seen. This is dull, dreary and not helped by a wildly unimaginative staging (when one knows what the space can yield) and lacklustre performances. The two leads are fine but are devoid of any kind of singing ability and the supporting players woefully undercast and poorly directed. None of the numbers "live" or deliver joy. Not good.
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Post by frankubelik on Jul 8, 2017 6:49:10 GMT
Since you posed the question (and I can already feel the barrage of abuse.....) Can anyone honestly see Imelda as a former showgirl? She will undoubtedly "act" the hell out of it but she cannot sing. Janie Dee will be her usual supercilious self and as for Bennett, she will give a predictably vulgar performance and "the" song will be painful to hear. I suspect the men will fare a little better with Forbes being twitchy and Quast being careworn. The rest of the casting is so underwhelming but perhaps Dawn Hope will save the day. Sadly I am already disappointed.
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Post by frankubelik on Jun 18, 2017 6:40:29 GMT
Nobody mentions the 2004 Bridewell production with Ria Jones. Having seen it perhaps it is best forgotten.
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Post by frankubelik on Apr 7, 2017 6:10:03 GMT
Booking period confirmed. OK. Is anybody else disappointed in the overall lacklustre casting?
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Post by frankubelik on Apr 3, 2017 11:17:21 GMT
First Negative Post About This Show.........be prepared. It's not THAT negative but........ A real treat to see a well populated West End stage in these days of stripped back musicals which I confess to becoming increasingly weary of but in my (humble) opinion the dancers simply lack the attack required (the tapping here is all in the toes) and lacked energy. This is pretty much a carbon copy of the 2001 Broadway revival which in turn added a few tweaks to Gower Champion's original and brilliant staging. I have no desire to take anything away from most of the principals who do a super job but I felt the minor roles (Annie, Lorraine, Phyllis, Abner) woefully undercast as was the Billy Lawlor who has no top tenor notes. My major problem was with Ms Easton who simply has no star quality (this from a previous admirer too) which was surprising; there is no grandeur or hauteur to her performance. Nice to hear her belt "Boulevard of Broken Dreams" but I am presuming this number was added so she could do so (it was not in the original or the revival and feels somewhat misplaced) for the rest feels vocally uncomfortable for her. However, there is no doubt that the audience loved it and it does have a feelgood factor. The Chichester revival, although small, seemed to have the heart missing from this production. I am ready for the oncoming attacks.
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Post by frankubelik on Mar 24, 2017 7:14:08 GMT
Did nobody else think each song felt like an afterthought? Nothing grew from character or situation; it was almost as if they took an "this will do" approach which really annoyed me but then the two leads started dancing and I almost forgave them!
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Post by frankubelik on Mar 24, 2017 7:08:50 GMT
Actually March of the Falsettos at the (then) Albery Theatre with Barry James & Paddy Navin. Martin was wonderful in this; it lasted about four weeks........
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Post by frankubelik on Feb 20, 2017 4:55:18 GMT
Someone mentioned credibility. "New Musical" - DREAMGIRLS 1981 & SIXPENCE 1963. I realise the latter has been substantially altered but these are not "new" - there goes credibility. How anyone could think the bland Emma Williams could have been thought better than Rebecca Trehearn is beyond me.
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Post by frankubelik on Feb 16, 2017 6:36:19 GMT
Agreed. Last revival was (via Sheffield) only 7 years ago. Do we really need Caroline too? Very poor choices to start his season. First time in over fifteen years that I will not be going to Chichester.
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