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Post by will on Dec 3, 2019 9:17:29 GMT
Has anyone bought tickets for this (or anything through UCL)? There seems to be the option to buy tickets after creating an account, but nowhere to pick the date you're attending. The site’s organised in a terrible way. Once you’ve created an account, you’ll see on the page there are three separate events for the same show; you may be looking at the Friday performance only. If you scroll down, you should see the Saturday and Sunday ones too!
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Post by will on Nov 24, 2019 11:35:50 GMT
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Post by will on Sept 9, 2019 13:06:17 GMT
Another rumour for you to enjoy:
Asa Butterfield as Evan.
He’s a great actor but I’ve never heard him sing. I imagine he’d be good in the role too.
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Post by will on Nov 27, 2018 1:00:08 GMT
Pitch and key are not equivalent. Is G major higher or lower than D major? Higher or lower than C major? One of those rare and amazing moments where the username definitely doesn’t match the comment! In answer to your question, I believe octaves are really important when thinking about this as, for example, you might have G major after F major when you are talking about the same octave (so G major is higher) but then you could have F major an octave higher and G major an octave lower, leaving F major almost two octaves higher than the G major. So I think it depends on what octave you are talking about too.
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Post by will on Nov 26, 2018 9:55:00 GMT
I was at a workshop with Joel Fram, the MD of Company, last week (best lecture of my life really), and he mentioned that he had been specifically adjusting the keys of the songs to sound best in Rosalie’s voice—I think ‘Being Alive’ was the one he specifically mentioned.
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Post by will on Nov 2, 2018 17:27:27 GMT
I’m curious what they’ll do with their amazing US Tour cast. Somehow keep them on retainers for 8 months? Gotta say, I don’t see that happening.
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Post by will on Nov 2, 2018 17:21:00 GMT
According to Broadway.com, the New York City Center run will happen as scheduled...
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Post by will on Oct 27, 2018 9:53:20 GMT
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Post by will on Oct 20, 2018 22:34:37 GMT
I just saw Olivia Moore as Veronica in Heathers, she was brilliant and would be a great Zoe for DEH.
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Post by will on Dec 15, 2017 13:19:06 GMT
Did anyone else manage to cop some Grand Circle seats for Opening Night? They sold out in seconds but I somehow luckily managed to get a pair by the aisle, and I'm really excited! Regarding stage door, can I hope that Lin / Alex and/or the cast will pop out on opening night? I imagine they have some afterparty or press event to get to but I would love to say hi.
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Post by will on Sept 29, 2016 13:22:33 GMT
The microphones will be so everyone can hear each other, not for recording purposes. Live recordings of shows are now made on pretty much every reasonably sized musical at the sound desk so the sound team can practice without having to pay thousands to call the cast and band in. So recordings exist that could be turned into a consumer product in a couple of weeks. The producer doesn't want them released. With Broadway now pretty much certain to happen, and Americans reluctant to buy London cast recordings, I'd say it was very likely that the US cast gets the recording. Thank you firefingers, I didn't know that this was a common practice - I guess it makes sense now the excited rush of potential recordings has been flushed away by the harsh truth of your final sentence. Sigh, I loved how that cast came together. I only perform on an amateur level, but we've never had microphones for the sitzprobe. It's more for us to hear the actual orchestrations (and the orchestra to hear what we do) than to fret about sound balance and the like. I've never even performed at a Sitzprobe ever, so it's interesting to hear how hobbyists manage it. I guess that microphones work for everyone in the sense that the directors can hear a balanced out version of the music and dialogue, sound designers can adjust everything accordingly, the cast get used to the orchestra, and the orchestra get used to the cast. You wouldn't release a recording of a sitzprobe - they are usually rushed and not in studio-quality conditions. Yeah, I don't think they would have either on second thought, but my little heart wants them to have returned to that audio booth and recorded something. But it's interesting that you say they are rushed - I would have imagined the opposite as all the crew work out every last detail. For the shows I've done, about 80% want mics for the sitz. Now it isn't about balance, it is so that the MD can hear any dialogue that might have a vamp under it so they can hear their cue out of it, or if the underscore is a set length they can check the dialogue does fit with the tempo and orchestration (drum solo over a whispered line ain't gonna go well). If the MD can hear the vocal, they can check the cast are getting the information they need. If a performer came in at the wrong time or on the wrong note, without the mics the MD might well not hear it, but with mics they would and then they find out why and sort out the issue. Sitzs don't use the usual musical theatre microphones for vocals (which are indeed eye wateringly expensive), but use a couple of far cheaper vocal mics on stands, with performers battling to get in close for their "bits". One reason why is cost, but another is those mics don't take much "looking after", just switch them on and leave them, so the sound team can actually listen to the music and figure out where to push and pull what instruments. You learn something new everyday - thank you for the helpful insight!
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Post by will on Sept 29, 2016 9:26:57 GMT
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Post by will on Sept 21, 2016 17:00:27 GMT
{Spoiler - click to view} Is the doctor song called "Stuck" or is that a separate song?
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Post by will on Sept 20, 2016 18:22:17 GMT
Matthew Warchus is good at the stage illusion business - maybe the best. He worked some wonders in Ghost, remember, and he's applied what he learned there in this one. Partly true, I'd say. He knows what effects he wants, and he knows WHO to hire... Paul Kieve, a stage illusion expect who also worked on Matilda, Ghost, and Harry Potter. www.stageillusion.comHe is super talented and responsible for (spoiler in case you haven't seen Matilda) {Spoiler - click to view} Miss Trunchbull spinning Amanda's pigtails and the dummy that flies through the audience. Also the 'cake' that Bruce eats during his number and the writing on the chalkboard near the end of the show.
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Post by will on Sept 16, 2016 18:31:49 GMT
Excellent sleuthing those behind the spoiler tags If this means me, thank you!
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Post by will on Sept 16, 2016 13:55:04 GMT
{Spoiler - click to view}It's a pretty awesome rift. I tried to work it out as well on the piano, but this sounds more accurate, so nice one Will!
While some musical purists may argue that it doesn't open with a traditional overture, I think it is brilliant with the TV opening with the "Birdman" like drum beat, then the rift with the little van moving forwards in the dry ice. I just hope they don't put an awful overture in like they did with Matilda in NY! Thanks James! If you (or anyone else on this forum, for that matter) ever need a bit of a music worked out, I am more than happy to give it a go! Just message me! {Spoiler - click to view}I think the rift is fantastic which is why I had to get it down on paper! The van is just awesome. Such a small thing but is a really cool touch, especially if you are sitting in the stalls near the front and you see it come close to the edge. Also the drum throughout the "There Will Be Sun" song is just gorgeous. I'm currently in the process of working out the lyrics to: {Spoiler - click to view}There Will Be Sun and Small Town So please message me if you can help with them! Thank you!
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Post by will on Sept 16, 2016 12:06:41 GMT
Hey all, While you guys were arguing I worked out the {Spoiler}{Spoiler - click to view} opening guitar riff which they play at the start of "There Will Be Sun" It's in B Minor and is at 70bpm. imgur.com/a/2bLDfThank you!
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Post by will on Sept 15, 2016 14:44:48 GMT
Hello all, I've been a lurker on this forum for a while and finally decided to make an account to post on this thread. I've seen the show twice, once from the front row of the Bayliss circle and once from the second row of the stalls. I won't say more about seating since it now seems to be a mad rush for tickets before the show leaves the Old Vic, apart from the fact that I preferred the Bayliss circle seats because I could see the revolves working and get a better view of the action on stage, including one of my favourite small details: {SPOILER}the awesome toy van at the start of the show. Unlike some people here, I really, really, really loved the show. I too would be scrambling for last-minute tickets if I were not in full time education! Also, I should mention that I'm a huge Tim Minchin fan, so I enjoyed all the scenes and lyrics which were clearly Tim Minchin-esque. The score itself is really pretty and cuts out the part of musicals that I don't like: repetitive and catchy melodies mixed with simple wording. Instead, Tim Minchin has taken the darkness of the film and transformed it into a whole new realm, littered with 'happy' songs that have been weighed down with minor keys and inventive, comic wordplay that had the audience in laughing fits. The stage itself is really fantastic - opening with a 'TV Curtain' and continuing to stun with super-speedy set changes and innovative structures that serve as Phil's bed and countless over rooms. Speaking of Phil, Andy Karl is fantastic in the role and has created a whole new persona which snaps into place with his lyrics and he really demonstrates the mood swings that take place during the Groundhog Day with such ease that it becomes so real. Carlyss Peer and Jack Shalloo are also worth a mention as both of them stood out for me! In terms of favourite song and favourite scene... I'll put them in this spoiler: {Spoiler - click to view}Favourite Song: "There Will Be Sun" (opening song) Favourite Scene: "Never Give Up (Hope)" or something similar... the suicide scene which has incredible illusions. In short, I loved the show so much that I'm going to see it on Broadway as soon as it enters previews. I have a feeling that it won't be received as well over there as it did here, simply because the Brits love dark humour which is Tim's forté, however I hope that isn't the case. Over and out.
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