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Post by singularsensation10 on Jun 23, 2019 7:15:04 GMT
The very nature of the genre is that the lyrics and the music drive the plot forward - so if the script is fully written before the lyrics are added, it is likely they will not be able to drive the plot forward. Songs need to be placed at parts in the story where the character cannot express themselves anymore so they need to sing to continue to be able to express themselves. I’d contact the composer sooner rather than later to be able to work together to fully realise the plot. Good luck!!
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Post by singularsensation10 on Jun 23, 2019 7:10:31 GMT
I also saw the show last night. I usually love an understudy show as I’m a firm believer that most understudies can do as good a job if not a better job than most leads but it was a mixed bag for me - Charlotte Riby was great as Becky, her jokes landed for me much more than Marisha. Sarah didn’t quite have the cutesy vulnerability Dawn needs for me, although I’m glad to have seen her over Ashley. Piers did a good job as Earl but could’ve gone so much further with the extremes of Earl’s personality. I assume it’s something to do with direction, maybe the Director has said to the understudies that they should do it just like the leads - as opposed to saying ‘just go for it’. Complete speculation though.
Lucie is absolutely wonderful, she is such a technical singer which I LOVE and really truly understands her instrument. As she has that nailed, she can really concentrate on acting and telling a story which she does so well. Bravo.
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Post by singularsensation10 on Jun 17, 2019 16:53:13 GMT
Has it already been posted on here that apparently Ashley was due to play Jenna and replace KMP but couldn’t sing it so they cast her as Dawn, and Laura is staying on as standby during Ashley’s run?
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Post by singularsensation10 on Jun 12, 2019 21:08:58 GMT
don't think she has the vice she once had in Legally Blonde, but she will hopefully try hard. I personally hadn’t thought about this. Think it’s easy for us to forget that LB was 10 years ago. Golly that decade has flown by...
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Post by singularsensation10 on Jun 11, 2019 12:44:47 GMT
I wondered when they would announce the postponement, it hasn’t even been cast yet!
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Post by singularsensation10 on Jun 3, 2019 16:41:28 GMT
It isn't school holidays, so by 9am may well be OK if she doesn't mind potentially being in the side blocks. She arrived at 9 and there were already 18 people in front of her and many people wanted 2 tickets so she left. Isn't it weird? I didn't think it would be that busy on a Monday. Maybe it's because of the cast change... unless the show is sold out they often hand out discounted tickets for anyone else in the first line after the front row is full so she should’ve stayed!
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Post by singularsensation10 on May 30, 2019 10:14:39 GMT
I called Damian Humbley and Michael Xavier a few pages back. Sticking to my guns.
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Post by singularsensation10 on May 30, 2019 10:13:15 GMT
Wonder how long it is until people start discussing who’s replacing Nikki and Helen...
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Post by singularsensation10 on May 29, 2019 10:23:25 GMT
What's going on? lol Anyone care to update me on the current situation? Nobody really knows yet as the production hasn’t opened. People just like to form opinions long before they’ve seen things.
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Post by singularsensation10 on May 25, 2019 14:35:29 GMT
It hasn’t been cast yet. They haven’t found Evan, auditions still going on and they can’t cast the rest until they have Evan.
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Post by singularsensation10 on May 23, 2019 19:36:07 GMT
I doubt that Sheridan will play those two roles as well... they usually cast Jacob and Potiphar as the same person so it should only be one announcement we’re waiting for. Jacob carries huge sentimental value for the show so it would never be a comedy moment.... unless the director’s vision is that Jacob and Potiphar are never actually seen but are more of a presence, or something along those lines? Realistically, neither character has huge amounts of lines to actually sing so there is technically no need for the audience to actually see them....
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Post by singularsensation10 on May 21, 2019 17:04:39 GMT
I read somewhere they were looking for all British leads. They don’t need to stunt cast so this could be one stellar cast!!
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Post by singularsensation10 on May 17, 2019 13:21:06 GMT
With the amount they’ve dicked around with casting on Broadway, I’m not sure why we were imagining even for one second they wouldn’t do it here 😂
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Post by singularsensation10 on May 17, 2019 7:35:13 GMT
My thoughts exactly ^^^. Also a clear lack of children’s choir- whilst kids choir isn’t a dealbreaker for me, I just can’t picture this show without one..
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Post by singularsensation10 on May 17, 2019 7:31:18 GMT
Yes it slightly backfired for them...they were expecting excitement for a new Jenna to be there as the curtain opens but in stead Twitter turned to fury! Golly. Poor girl.
In terms of those people ‘sticking up’ for Sarah - she’s an understudy. That doesn’t mean she’s automatically lead when the lead is away. That means she fills in if production need her to. Why not have Lucie go on it she’s rehearsed and ready? Sarah will still go on stage in her usual track, which she is employed to do?
I don’t understand the outrage personally.
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Post by singularsensation10 on May 13, 2019 12:23:58 GMT
Just wondering, do they do any pairing up of potential Elphabas and Glindas in auditions to see if they work well together? That would be one way to help cast the right person. It does happen for most shows most of the time, yes - but not always, and rarely will Wicked do it if someone is staying on (i.e Sophie joining Alice).
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Post by singularsensation10 on May 13, 2019 7:36:45 GMT
Didn’t expect Jenna but now it’s been announced, I can - it’s wonderful casting. Calling Michael Xavier and Damian Humbley right now.
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Post by singularsensation10 on May 12, 2019 11:05:15 GMT
They kinda had to take a risk in 2011 with Rachel as they had a limited group of green girls. Now, we’re 8 years on and have three UK productions (two tours and London) with past actresses to choose from. They literally have SO many women to choose from now that it would be stupid of them to choose someone brand new.
‘New’ Glinda is also something I can’t see happening. They took a risk with a Sophie and it took her a good few months to go from terrible to average reviews and only started getting consistently positive reviews in her second contract.
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Post by singularsensation10 on May 12, 2019 8:27:48 GMT
I think we all forget that what we see as "exciting" maybe isn't what the company is looking for?! You’ve hit the nail on the head, this is what I’ve been saying for ages - with as much money at stake as they have in this production, the safe bet will always win over ‘exciting’ casting.
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Post by singularsensation10 on May 11, 2019 7:58:10 GMT
How do open auditions work? I imagine them as an X Factor type nightmare where anyone can just turn up, alongside actual professional musical theatre actors. That’s exactly how they work. However, professional auditions will happen in a couple of months where agents will submit their clients as normal. Most professionals won’t go to an open call. Open calls are a great way for casting teams to find that ‘hidden gem’, but mainly a way for a production to gain some hubbub and excitement LONG before a casting announcement or tickets go on sale. They very rarely actually cast someone from an open call. But in today’s X Factor generation, Open style calls are usually expected are being used much more than even 2-3 years ago. Wicked U.K. Tour and Hamilton were the first ones I can think of for ages.
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Post by singularsensation10 on May 7, 2019 18:56:37 GMT
One of my favourite shows. Sobbed through this on Broadway and can’t wait to see it in London. Louise Dearman or Rebecca Trehearn please, with Jane McDonald at the matinees.
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Post by singularsensation10 on Apr 27, 2019 6:37:58 GMT
Think you’re probably all going to be underwhelmed.... Let’s not get our hopes up for exciting, risk taking casting! I’m loving the shift towards casting a proper MT performer for Fiyero so hoping they keep that going for Elphaba and Glinda.
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Post by singularsensation10 on Apr 27, 2019 6:34:35 GMT
any casting news for London? I think they’ll hold off, there are more auditions happening (I assume for understudies etc) so I guess casting is not totally complete.
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Post by singularsensation10 on Apr 11, 2019 19:27:58 GMT
I started writing my whole list but it became too long and I can’t really rank them after the first 10, they’re all fabulous at what they do and I think it’s easy to get desensitised to how incredible a woman has to be to pull this role off so hats off!! My top few will always be Cassidy Janson, Idina Menzel and Jackie Burns - three actresses with incredible voices but first and foremost incredible story tellers.
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Post by singularsensation10 on Apr 11, 2019 17:20:56 GMT
Offers don’t go out by letter anymore. I don’t think they have done for many years. It comes from a discussion with the producers and the agent of the performer. This is all just one big mess, I can’t help but feel for the boy if it was a prank.
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Post by singularsensation10 on Apr 6, 2019 13:15:28 GMT
Finals for this happening next week so I assume we can expect a cast to be formed in May so announcement early summer.
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Post by singularsensation10 on Mar 31, 2019 13:58:01 GMT
Was it posted on here that the director died shortly after filming? There was likely to be a delay caused by the mourning of their friend and colleague, and deciding who would look after his side of the project thereafter.
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Post by singularsensation10 on Mar 31, 2019 11:23:36 GMT
Was in this afternoon. First, no merchandise, just the £10 programme (they take credit cards in the main foyer kiosk). Audience as expected - full report in the usual thread. Front row A has unlimited legroom except both end seats. Stage is high (head height 6ft) but you miss nothing. And the show... cast does well, very well at times. Loses its battle with the script about 2 scenes into act 2. Direction and choreography are a disaster - the director / choreographer credits appear to run only to "The Commitments" and "Faulty Towers Live In Australia" so no real wonder. And the mixing desk appeared to be having a bad afternoon too. More on my site, but this is pretty woeful. Was in yesterday afternoon too and echo these thoughts. For this to work it needs serious rewrites but I’m not convinced even then it would be anything worth writing home about. That being said, it was packed with middle aged men who would probably otherwise not go to the theatre and they seemed to enjoy it so there’s something to be said for knowing your audience. My big issue with the show is with the songs - the original songs sounded the same and each character had their own cookie cutter sad moment which didn’t particularly reflect their character or their storyline, and then there would be the odd 80s tune whacked in there (Bill Withers’ Lovely Day to close act 1? Seriously?). Was nice to see a proper MT cast with no real stunt casting though. I thought the set was very effective too.
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Post by singularsensation10 on Mar 27, 2019 21:53:02 GMT
Saw this last night. They absolutely did not capture the heart and true potential of this show, in my opinion. It seemed caricature-y and pantomime like at times... I did not feel endeared or warm towards the tribe, nor did I believe they were a tribe at all. I certainly didn’t believe they’d ever smoked a joint or been high. It felt all too placed and perfectly choreographed which goes against the vibes of the tribe. Poorly cast also, is Jake Quickenden really that much of a draw? Is Marcus Collins that much of a draw that it’s worth rewriting the show to make him far more featured than any other person?
A real shame as this is one of my favourite shows, if not my absolute favourite show, when done right. Hair has the potential to be life-changingly touching and beautiful, as it poses some really deep questions, many of which are still prevalent in this day and age. We should fall in love with the tribe in act 1, and therefore be invested to go on the bad trip with Claude in act 2. In stead, it was very presentational and over the top (thus my pantomime comment) and lacked the heart that is needed if we are going to want to join the tribe and be invested in their story. I need to feel personally invested in them for this show to work... in stead I was left cold and in some cases irritated by some characters.
One of the positives is there were some wonderful vocals from the ensemble.
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Post by singularsensation10 on Mar 24, 2019 10:51:47 GMT
I don’t necessarily think shows need to be ‘the best thing I’ve ever seen’ or ‘life-changing’ to be valid. This show certainly isn’t jaw-dropping in terms of set or visual effects, nor does it feature songs that I (personally) will be humming all week.
But I tend to rate shows (in my head on a personal level) based on whether there is a visceral moment, a moment where I am transported into their world and lost in the wonder of what I’m witnessing - for instance Defying Gravity is my ultimate visceral moment when the music builds until it takes off, and so does Elphaba. Or 42nd St when the stairs came out, Les Mis in One Day More. Conversely for me, a production like the recent Company (although extremely expertly and impeccably executes) lacked a real visceral moment.
For me, CFA had that visceral element many times when the cast were all moving, singing, living and BREATHING together - the audience were too. No flashy sets or costumes, but it had that visceral element.
I just don’t know if that’s enough to get tourists flocking in for the show to stay open a long time.
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