225 posts
|
Post by ukpuppetboy on Nov 28, 2019 22:47:10 GMT
I’m going to explicitly mention the productions because judging by some of the comments on this board on 2 of the London versions I may have had a different opinion - but from MY experiences of new musicals from the last decade (in a loose order):
1. The Bridges of Madison County (LA) 2. Hamilton (OBC) 3. Fun Home (OBC) 4. Lift (Soho Theatre) 5. The Band’s Visit (OBC) 6. Romantics Anonymous (Sam Wanamaker Playhouse) 7. Come From Away (Dublin) 8. Dear Evan Hanson (LA) 9. Here Lies Love (Dorfman) 10. Loserville (Garrick).
*Full disclosure - I haven’t seen Matilda or Groundhog Day (or Natasha Pierre) which I fully expect would have been contenders.
|
|
225 posts
|
Post by ukpuppetboy on Nov 28, 2019 22:11:38 GMT
At Mary Poppins this afternoon (this was a conversation with me, so not technically overheard): Lady next to me: "Excuse me, was that Petula Clark? I heard she was in it." Me: "Yes, it was." Lady: "Unmistakeable, wasn't she?!" Er ..... She had a rollicking argument with her husband that it wasn’t ‘Frank Spencer’ up on that stage at Her Majesty’s all those years ago and she’s not going to give him the satisfaction of being right again anytime soon...
|
|
225 posts
|
Post by ukpuppetboy on Nov 28, 2019 22:02:23 GMT
I hope JOJ has been rewarded appropriately. I’m entirely certain of it. Though maybe with this top level sh*t stirring he’s going in for a bonus? 😉
|
|
225 posts
|
Post by ukpuppetboy on Nov 28, 2019 21:54:53 GMT
|
|
225 posts
|
Post by ukpuppetboy on Nov 28, 2019 21:44:58 GMT
Did someone mention Alfie's attendance? 😂 After doing the math- he's missed almost 1/5th of his shows, I'd be pissed too- this isn't a principal/alternate lottery, people've paid specifically to see him... Aren’t tweets like this trolling the situation somewhat? I mean, fair play for being such a stellar alternate (and swing) but he’s certainly not playing anything down is he? I’d be surprised if a few noses weren’t a little out of joint by highlighting this, rather unfortunate statistic quite so explicitly.
|
|
225 posts
|
Post by ukpuppetboy on Nov 27, 2019 20:40:34 GMT
|
|
225 posts
|
Post by ukpuppetboy on Nov 26, 2019 3:08:22 GMT
I see that same ‘theatre vlogger’ has immediately launched upon Michael Ball in response to this for “showing contempt for his fans” and having to audacity to appear at the Children in Need event at the Savoy. Is there really any need for such bile and hypocrisy when he himself is crying defamation left right and centre? It’s embarrassing for the theatre community as a whole that they entertain his continued presence.
|
|
225 posts
|
Post by ukpuppetboy on Nov 24, 2019 2:25:35 GMT
^ The performance. The actors' performance should definitely be the star of the show, not the actors themselves, or their celebrity, or (especially) when their celebrity does not warrant a fine performance. Referring to all shows in general that aren't "Celebrity X in Concert". I don’t disagree. And I wouldn’t have returned my tickets if I had attended. However when THIS is your marketing and every one of the performers you explicitly mention as a selling point is not able to perform (as had been the case) I can’t criticise those who did want a refund. I am starting to come around to New York’s system of compensating when over the title performers are absent. At least that is unambiguous for audience and producers alike. *I don’t agree with partial refunds though - either see the show or don’t (the production costs the same either way) It doesn’t seem fair on the rest of the audience and would encourage everyone to make a scene at the box office!
|
|
225 posts
|
Post by ukpuppetboy on Nov 24, 2019 1:41:37 GMT
This topic is pretty contentious and though I would normally agree that you take your chances with the cast when you buy your ticket with most west end shows I do think this concert staging, and other performer driven events like the Glenn Close Sunset Boulevard revival are exceptions to this rule. Especially when so many of the “star” cast aren’t present, for whatever reason as has been the case this last week.
Much was made of the 80’s/90’s mega musical era where Cameron Mackintosh reinvented branding his shows with with identifiable logos in place of ‘names’, but for this production of Les Mis (and recent stunt casting) they have done a complete 180 on that. And it’s all very well saying ‘the show is the star’, but THESE are stripped down versions with minimal staging and scenery where ‘the star is most definitely the star’. You may very well be in for an equally good performance (or better in some cases) but unlike with most shows on in the west end where cast aren’t advertised, and holiday absences/leaving dates aren’t noted in these instances they were all very much part of the marketing. Obviously sickness is regrettable and unavoidable but goodwill should work both ways and it’s a shame if refunds aren’t offered for those who would rather not attend.
However that is where my sympathy ends. People will still complain about being out of pocket for travel/loss of earnings/accommodation, but that definitely IS the chance you take for seeing any live show and if you aren’t prepared for the slim possibility you won’t see the performer of your choice you really shouldn’t have made the decision to book in the first place. Would they prefer the cast member turned up and mimed/croaked their way through the show? Some social media comments seemed to suggest that they should personally be the judge of how fit Alfie Boe was to perform (being a nurse... and/or a vet?!)
|
|
225 posts
|
Post by ukpuppetboy on Nov 24, 2019 0:33:08 GMT
The things I’ve seen of Christina Bianco from this look fantastic - I really hope this is the start of her career as a musical theatre leading lady. She’s a Mame or Dolly I could actually get excited about (in a few years time).
|
|
225 posts
|
Post by ukpuppetboy on Nov 24, 2019 0:11:42 GMT
Anthony Warlow is really giving the new generation of theatre goers lots of chances to catch up on his greatest roles. After returns to Phantom, and more recently Jekyll/Hyde he’s just been announced for next years 25th Anniversary production of The Secret Garden in Sydney and Melbourne from August 2020, which should give everyone a chance to start saving. Hopefully they can persuade Phillip Quast to follow suit.. And maybe a better dialect coach this time around for half the cast. The Secret Garden - Australian 25th Anniversary production
|
|
225 posts
|
Post by ukpuppetboy on Nov 23, 2019 23:38:32 GMT
Does the criteria require some contribution to the Society of London Theatre (and SWET before that)? I assume as the NT productions are considered for Olivier Awards they are considered West End, with smaller venues like the Other Palace, Boulevard, Soho, Turbine etc being classes as Off-West End. It was always much clearer with the paper West-End Theatre guides (which always included the NT and Old Vic). A West End theatre isn’t defined by size. I didn’t mean to imply that it did (the Donmar was always included in the paper theatre guides also). Like your post that beat me to the punch I was suggesting that being considered “West End” was dependent on membership to SOLT/SWET. Apologies if that wasn’t clearer. In which case The Royal Court.... IS. Isn’t it?🤔! And for memory they used to publish listings for the Lyric Hammersmith, but separately. 🤦🏼♂️ OK. I give up...
|
|
225 posts
|
Post by ukpuppetboy on Nov 23, 2019 23:30:18 GMT
The National is also a West End theatre. Cannot remember if The Other Palace or Bridge are? Could be the new Boulevard theatre is? I didn't think the National considered themselves a West End venue. Does the criteria require some contribution to the Society of London Theatre (and SWET before that)? I assume as the NT productions are considered for Olivier Awards they are considered West End, with smaller venues like the Other Palace, Boulevard, Soho, Turbine etc being classes as Off-West End. It was always much clearer with the paper West-End Theatre guides (which always included the NT and Old Vic).
|
|
225 posts
|
Post by ukpuppetboy on Nov 22, 2019 2:49:02 GMT
Earl Carpenter am£ John Owen Jones tonight with a Stephen Matthews Thenardier and Rosanna Bates as Fantine - what a gorgeous evening 😀 Imagine if you were a big Alfie, Michael and Carrie stan and had tickets for tonight 😬 I’m picturing a rumble not seen since The Jets and The Sharks. Did anyone make it out alive?
|
|
225 posts
|
Post by ukpuppetboy on Nov 22, 2019 1:16:44 GMT
Anything that stops London following in the footsteps of Broadway where profiteering from ticket resale is huge business. Tickets for Hamilton at it’s peak were commonly being resold for over 500% their face value which is total elitism and benefits nobody but the most unscrupulous. There is still no disincentive for people (or bots) to buy up vast chunks of the house and resell them for what they think they can charge. Currently it’s hard to get tickets for the first few weeks of West Side Story (I looked at Friday 20th at 8pm), but StubHub has loads - mostly above $500 and quite a few between $1000 and $1995! At least a 10-15% fee is stomach-able if you are absolutely desperate to go on a particular day. I honestly couldn’t think of any show worth paying upwards of £1500 for.
|
|
225 posts
|
Post by ukpuppetboy on Nov 22, 2019 0:42:46 GMT
How much of the production is designed by the recent broadway revival team, or is it an original revival? Sets and costumes by the lovely Rae Smith - so completely new for this production. (Vicki Mortimer designed Follies )
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 22:53:32 GMT
Sweeney Todd - 1994 NT Cast (Quilley/McKenzie/ Benjamin)
For any that haven’t had the pleasure of her definitive Mrs Lovett (sorry Imelda) then you can listen to it on the audio player here. Also worth every second for Barry James’ Beadle Bamford - who took scene stealing to new glorious heights.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 22:01:23 GMT
This Thread created with posts from the Hello Dolly thread. This will be moved to Performers when you’ve had a chance to stick your oar in 🙂 Well you’ve unleashed a monster now... And a fabulous one that was never in Les Mis, Wicked or Waitress at that... 😉
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 20:20:03 GMT
They should call it "The Theatre ... of DEATH". Everything is cooler with "... of DEATH" added to it. Or “..of Blood”? I worked on that at the NT back in the day and that was cool. Though arguably much more fun to have worked on that sat in the audience for.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 20:12:00 GMT
Unless you know something about Prince Edward that we don’t... feel free to share 🙂 Well there was always gossip wasn’t there? But in light of the last few weeks and months, and when compared to Andrew and William he is the squeakiest of clean. Name ALL the theatres after him.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 18:55:02 GMT
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 14:33:07 GMT
It’s like the equivalent of Broadway ‘we have productions planned’ when a show closes there. “Always leave them wanting more” is not a phrase the Weissler’s agree with.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 14:23:29 GMT
“Prior to returning to the West End”. Really? Really? I’ve no doubt it will EVENTUALLY but I’m sure we could survive 10 years of new shows before that happens.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 14:17:24 GMT
A much better fit for The Dominion than Big was.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 14:13:49 GMT
I’d probably take the shade of a few drag queens with a pinch of salt and side with xanady here. Just this once.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 13:59:27 GMT
Why did Julia McKenzie retire from musicals? She did an interview when she was in Sweeney Todd - I think in the now-defunct Show Music magazine - in which she said she thought she probably wouldn't do another musical simply because she found summoning the level of energy required to play a big role in a musical so debilitating that after a week of performances she ended up spending Sunday in bed. I’m not surprised - her Nellie Lovett was a powerhouse (and my favourite stage performance by a country mile). I wish there was more footage from the London Into the Woods (and that I’d payed more attention when shopping in Honest Ed’s). She did look quite frail at the Sondheim gala at the Drury Lane a few years back though so hopefully she’s enjoying her retirement and maybe she can be tempted out of it (temporarily) for a cameo in the upcoming Follies movie.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 13:44:48 GMT
For me this eclipses all recent revival announcements by miles. It was criminal how short that original London production run was. Hopefully they can assemble a cast that can match the one I saw in Hammersmith.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 13:20:33 GMT
She was the original alternate (which when playing opposite La Brightman meant she was pretty much sharing the role from the get go). So her operatic soprano from that and belting from Saigon was never in doubt. I was just taken a back by her lower range here too. Apparently she’s also a pretty good jazz singer thanks to her father’s influence. Hoping she finally gets to play Carlotta someday. Such a shame that never came to be.
|
|
225 posts
|
Post by ukpuppetboy on Nov 21, 2019 13:09:45 GMT
Caught in a bit of a YouTube loop this evening listening to the always fabulous Claire Moore. It’s no secret she’s an amazing soprano who can also belt with the best of them but I didn’t appreciate what an amazing range she had until I heard this soundboard of her Audrey from the original London run of Little Shop. Much as I love Ellen she certainly never sung Somewhere That’s Green as clear and as effortless as this; Those last 3 lines are heart-breaking. Would have loved to have seen her and Barry James (and Gary Martin) back in the day.
|
|
225 posts
|
Post by ukpuppetboy on Nov 19, 2019 7:49:53 GMT
This has nothing to do with Londoners “not holding back”. If the venue has a curfew (as is the case with Hyde Park) and the local authority/crew/management the resolve to pull the plug then she doesn’t have the luxury of her diva antics afforded to her in the US.
|
|