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Post by singularsensation10 on Apr 7, 2018 16:05:23 GMT
Well exactly any London recording would’ve been with the 10th Anni cast.
It won’t be another complete cast recording, when have shows ever done two cast recordings of the same production? Live CDs aside, it doesn’t make sense for a show to do another cast recording with a different cast. 2003 Original Broadway Cast recording...2018 24th Broadway Cast Recording? Doesn’t have a huge ring to it. A new trailer seems most likely.
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Post by singularsensation10 on Mar 30, 2018 22:13:59 GMT
Thoughts:
Steph was wonderful as Dorothy. A real comedic flare and gelled well with the rest of the cast - with time and practice singing the songs she will be fantastic.
If I were Clare’s agent I would have bartered a double rate for the second contract. Jesus she’s good.
Loved Tom more than the first two times.
I could watch Ashley dance for ever. He has super sharp cheekbones, a smile that could kill and a flair of elegance. He’s definitely a dancer that sings though. He can sing the songs fine but he’s certainly more confident dancing than singing.
The second cast are not yet as polished as the first but give them time and I think they could be even better. They bring a different feel, but one that is welcome.
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Post by singularsensation10 on Mar 27, 2018 14:20:14 GMT
How is it technically great? The messing about with the melody causes her to go out of tune at the end of two of the longer notes. We’re going for our replacement Bristol Hippodrome show tonight and if she pulls any of that crap I will be on my feet booing...(aka silently seething inside and not clapping at the end of the song). I find nothing of value in it and if she is bored of singing the score she should not be there. I agree with this (albeit in a slightly less loaded way!) - fair enough do it a a concert or at her final show even, but it adds no value to the song and it wasn’t executed particularly well.
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Post by singularsensation10 on Mar 26, 2018 14:57:35 GMT
it soon became obviously that Idina Menzel was indeed giving an award worthy performance and was something very special. She mined every last drop of comedy and pathos, and used her vocal idiosyncrasies to perfectly serve the character - and above all she had such natural stage charisma that you couldn't take your eyes off her. She made me laugh and she made me cry. This was a great actress at the height of her powers giving a superb performance. She was clearly working well with the rest of the cast (and in particularly Helen Dallimore) but there was no doubt who was the star - she just had IT. I saw the show several months later when Kerry Ellis had taken over the role and while overall it was more balanced - it lacked that special something. Since then I've seen several different Elphabas - most have better vocal instruments (and use more notes!) than Menzel and many have been more age appropriate. I've enjoyed them to different degrees - but none have ever matched that performance that I saw in 2006. Would I choose to listen to Idina Menzel singing the score over some of the more recent Elphabas - no thanks. Do I wish I could turn back time and see her acting the part again (and again) - you bet! This far-more-appropriately sums up what I was trying to say - in a far more level-headed, less emotional way! In other news, I watched the second episode of Jane and Friends on Channel 5 (love me some Jane McDonald) and KEllis was on there dragging that jarring rock version of DG back out of retirement. Not an outstandingly remarkable performance but she’s definitely milking Wicked In Rock for all it’s worth.
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Post by singularsensation10 on Mar 26, 2018 14:49:41 GMT
If anyone is wanting to go this weekend while Lulu is off, TodayTix are doing £15 tickets.....
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Post by singularsensation10 on Mar 25, 2018 20:14:00 GMT
I can say after twelve years that Idina in wicked in 2006 was one of the biggest emotions that I lived in theater in my life. She was so intense and talented, her stage presence filled that giant stage... beautiful memories, for me she was pure magic, wicked with her was pure perfection. I have to echo this. I hate to be the guy that calls out ‘new fans’ - but it breaks my heart to read negative comments from people who didn’t see Idina live. All of this “Idina couldn’t hit the notes” bullsh*t...the recordings aren’t good, no. I’ll grant you that. But what that woman did on that stage was more than hit (or not hit) the notes. She completely swept the audience up with her, in a way I’ve seen very few Elphabi do since (Kerry Ellis’ first run and Christine Dwyer did the same for me). Hey, she even made Helen Dallimore’s horrible casting work and that takes talent. Let’s be honest...if she really were sh*t, would they have taken her all the way through the workshops, to Broadway and then to London? It wasn’t just singing, it wasn’t just acting..it was developing a unique experience between the audience and the artist which can’t be taught or imitated. My mum still comments on it 12 years later - and while she likes the theatre, she’s firmly in your average theatregoer category of surface level viewing. Sorry to get deep...just really grinds my gears when I see comments on YouTube or anywhere about Idina’s portrayal from people that weren’t there.
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Post by singularsensation10 on Mar 23, 2018 8:27:59 GMT
Could it not work so he is just rich and dumb rather than old, rich and dumb so that a younger actor could play him? I’ve only seen the show a few times but I don’t recall anything about him being old in the text?
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Post by singularsensation10 on Mar 20, 2018 7:49:36 GMT
I think people should remember that the first night of a new cast is almost like the first night of the entire show - it will take everyone time to settle in and develop that polish that you saw on Saturday when the previous cast closed. Granted Lulu might never be up to scratch, but for me Sheena Easton wasn’t all that good and I preferred the standby so I’m sure that will be the case again. Looking forward to going end of next week when the Dorothy standby is on (Thu-Sat).
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Post by singularsensation10 on Feb 28, 2018 15:26:17 GMT
Oh here's a thing. We know about the easter eggs in the score, hiding the tune of "somewhere over the rainbow", (7 notes only to avoid copyright), in the "Unlimited" passages, a bit of melody of "If I only had a brain" when Fiyero makes his last appearance) but I think I might have found another teensy silly one. In fact it's so ridiculous, in my head at least I'm declaring it deliberate. I was trying to learn the piano part for "As Long As You're Mine", and when they hold the note after "it's over too fast" and the other "sad" lines that fall in the same place, I thought, "gosh that's an unnatural rhythm to play there", and when I looked closely... one finger on the piano taps out "SOS". See these notes where I've coloured in green. So there you go! The song that probably didn't need any more OMGDRAMA now has a little bit more, even though it's largely inaudible on the OST. Thank you for this. I love it. I definitely don’t think it’s deliberate but would love it if it were. You clearly have an eagle eye and it’s fantastic.
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Post by singularsensation10 on Feb 14, 2018 8:16:17 GMT
Hamilton, Wicked: take note of this - I could actually hear the actors AND the orchestra. At the same time. With perfect balance. And it made such a difference. Maybe we sat in different locations, but I was really impressed by Hamiltons sound mix. It's arguably too loud (although I've always thought musicals are allowed to blow your pants off every so often) but balanced alright. I'm glad anyway that Les Mis has got this right. They'e only had 13 years to practice... For Hamilton I sat at the back of the stalls and mid-Dress circle for the same show (swapped at the interval) and it was not only painfully quiet, but the mix was all off. Hopefully you went after me and they’ve sorted it!
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Post by singularsensation10 on Feb 14, 2018 8:14:44 GMT
Also - I couldn’t connect with David Thaxton’s Javert. He shout-sang too much for me, I just totally switch off if i’m shouted at and he seemed to SHOUT the most ranDOM sylLAbles of a WORD in a sentence. David was off yesterday.....you would have seen the understudy. Wow - not like me to miss something like that!! I’m almost certain they didn’t mention that in the announcement! Just checked the website - yup, definitely didn’t see David Thaxton! How dumb do I feel right now!
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Post by singularsensation10 on Feb 13, 2018 18:36:36 GMT
Also - I couldn’t connect with Shaq Taylor’s Javert. He shout-sang too much for me, I just totally switch off if i’m shouted at and he seemed to SHOUT the most ranDOM sylLAbles of a WORD in a sentence. Edited to critique the correct actor *facepalm*
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Post by singularsensation10 on Feb 13, 2018 18:32:47 GMT
Saw the show last night, having not seen it since my friend left the cast 2 casts ago. I have to say, the set is looking incredibly dated and whilst my view from E of the Dress was great (as was the leg room!), I could see all sorts of things and people flapping about behind the set. The costumes lack impact and the props look flimsy. This show is really, really tired physically - but the material and the execution make up for it.
Cast-wise, I wasn’t blown away by anyone other than Steven Meo as Thernadier. Hands down the best take on that character I’ve ever seen (including Matt Lucas’ stint), he was simply sublime! First time I’ve walked away having been really impressed by a Thernardier. Jaqueline Tate was good too, although her comedy felt VERY rehearsed.
Karis Jack was disappointing as Eponine - she appeared to not want to be there. Rushing her lines and throwing away all of her notes. It’s a no from me, I’m afraid.
Adam Bayjou did a great job as Valjean, I think he’s a really solid understudy but don’t think he could pull off the lead - I think he lacks that extra oomph in star quality that I personally need from a Valjean (thinking of someone like Drew Sarich for example). Don’t get me wrong, Adam has a phenomenal rocky voice which means his big notes have a lot of welly, and equally he controls the lighter stuff well - but he lacks that icing on the cake that (IMO) a lead Valjean needs.
As a singer, it pains me to hear singers breathe too much and take odd phrasing - and most of the leads had very odd phrasing, breathing in the middle of sentences and fiddling with the rhythm of some of the notes. LM isn’t a pop show so shouldn’t be treated like one. Stick to the score and breathe properly, please. Surprised the M.D. hasn’t picked up on that one.
Finally (and most importantly) - the orchestrations are absolutely TO DIE FOR. The show was played absolutely beautifully. The orchestrations sounded fresh and nuanced, the orchestra themselves were sharp and crisp and the overall sound was phenomenal.
Hamilton, Wicked: take note of this - I could actually hear the actors AND the orchestra. At the same time. With perfect balance. And it made such a difference.
I’ll be going back again for definite, after cast change.
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Post by singularsensation10 on Feb 12, 2018 15:50:51 GMT
Love this sort of thing.
Wicked - 57 (Started in 2006 at the age of 11 and it was my teenage obsession. Haven’t been nearly as much in the past 3 years as I did between 2009-2012.)
Hair - 19 Hairspray - 16 Ghost - 12 Les Mis - 11 Mamma Mia - 9 Kinky Boots - 6 BoM - 5 In The Heights - 4 Various other shows such as Dreamgirls, Sweeney Todd, Funny Girl, 42nd St, Hamilton and Jersey Boys at least 3 times...!
Must be on about 15 for Joseph - it was my first show as a kid and loved it growing up. Haven’t been for so long though!
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Post by singularsensation10 on Feb 11, 2018 9:10:21 GMT
I heard from a friend that Tina doesn’t leave the stage the whole show and is in 26 numbers, and the biggest sing is at the end. So because of that the lead is doing 6 a week.
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Post by singularsensation10 on Feb 9, 2018 8:14:48 GMT
Not to mention the fact it’s a modern genre musical - goes without saying that the modern hip-hop style numbers will have click track because those sounds aren’t / can’t be convincingly made live. Mamma Mia and Hairspray to name but a couple are shows that are all done on click track.
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Post by singularsensation10 on Feb 8, 2018 10:15:17 GMT
Jheez people are d***s sometimes. It’s cold. People get ill. Singers want to stop singing in the short term to protect their instrument in the long term. Understudies are freakin awesome and talented. The show is still the same.
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Post by singularsensation10 on Feb 6, 2018 17:09:21 GMT
Heaps of people out on the Mamma Mia tour too - it’s just that time of year, combined with the strains of touring. Nothing else.
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Post by singularsensation10 on Feb 1, 2018 18:26:15 GMT
I miss Martello and his stats.
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Post by singularsensation10 on Feb 1, 2018 9:00:17 GMT
From the descriptions of Amy Ross, she sounds like she is a really healthy singer with a strong knowledge of how to protect her voice.
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Post by singularsensation10 on Jan 29, 2018 15:46:47 GMT
Hamilton open call auditions are this afternoon, a friend of mine is going. Said it’s not only for London, successful auditionees are being considered for all productions.
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Post by singularsensation10 on Jan 28, 2018 17:43:51 GMT
I loved Lou as Elphaba - it's one of the best acting performances of Elphie I've watched - Defying Gravity in particular I can remember vividly after 5 years. I agree with this. She’s one of my most memorable Elphies too. No performance will ever come close to that of Idina though.... on her own level!
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Post by singularsensation10 on Jan 28, 2018 8:15:10 GMT
I wonder whether it was 3 separate forms or whether she was able to put it all on one....
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Post by singularsensation10 on Jan 24, 2018 8:33:01 GMT
Ash: Ash’s Hamilton is very confident, innocent at times and very loveable. and you can see his Hamilton is trying to take everything on board from washington/burr. Ash’s voice is much stronger Jamael: I found Jamaels Hamilton much more sensitive (not that its an overly bad thing) but I thought he was a bit slow to get going. He has perfected Hamiltons frustrations but I think he needs to be louder, his voice is much too quiet and he often mumbles. I would agree with this. I much preferred Ash because of his vocal strengths and his loveable character. Jamael is much more mature, which comes across in his stage presence and characterisation but for me, I warmed more to Ash’s Hamilton.
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Post by singularsensation10 on Jan 21, 2018 13:09:51 GMT
I saw Cassidy Janson and Sarah Earnshaw back in May 2008 and I don’t think I’ve ever been as excited for a show as that. Then in August 2008 I saw Ashleigh Gray and Sarah Earnshaw, also an exciting day. My list of shows also tells me I saw Hayley Gallivan and Lucy Van Gasse in 2013, but I don’t remember that...! I guess 3 double standby shows is actually quite a few considering there haven’t been all that many when you think of the total number of shows.
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Post by singularsensation10 on Jan 19, 2018 17:42:49 GMT
I wonder how many Riff Request forms they’ve been through in 12.5 years?
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Post by singularsensation10 on Jan 19, 2018 10:30:30 GMT
I don’t know what is more alarming: the fact this has been discussed at such length or the fact I am genuinely interested in it.
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Post by singularsensation10 on Jan 15, 2018 15:08:40 GMT
Will they definitely stick with the 12 month contract? Does anyone know the reason we are now on 12 month contracts? Seems odd that we have cast change in July then 9 show weeks so soon after in August? My friend was in Wicked a couple of casts ago and her contract was 1 month rehearsals, 11 months performances. This is quite standard in this country.
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Post by singularsensation10 on Jan 14, 2018 8:45:35 GMT
Interesting to see that casting breakdown - Elphaba 20-30, playing age 20-30. Well that certainly wasn’t the case when the show opened, thinking about Idina/SJB/Julia Murney/Ana Gasteyer/Kristy Cates etc. I would be interested to hear when & why the casting changed.
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Post by singularsensation10 on Jan 11, 2018 22:42:39 GMT
I’ve heard some crazy names thrown around for Dorothy, Mel C being one of them (can’t see that happening though!!!), all speculation at the moment though.
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