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Post by ukpuppetboy on Aug 7, 2019 0:37:38 GMT
The announced production of King Kong in Shanghai has plans on keeping the puppet for at least 2 - 3 years. There was also initial interest from Japan (far more so than any from the UK). The producers should really focus on a new score (and choreography) before stumping up the money for a new gorilla.
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Post by ukpuppetboy on Aug 6, 2019 22:21:00 GMT
CRUMBS! Poor Ann Crumb *googles Ann Crumb gets eaten by the Aspects Of Love set*. What happened to her? I can only find that there was an accident. Not that I want gruesome details but just a vague idea. That still sounds wrong. Sorry. She recovered and conquered her fears in time for the Broadway transfer though.
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Post by ukpuppetboy on Aug 5, 2019 12:31:49 GMT
I think that digital programmes are a fantastic idea. The only issue is that commercial theatres would still want to charge a lot for them which would be a rip off. I was happy to pay for the digital programme for the NT Live screening of Frankenstein that I saw while in New Zealand. If it’s informative and convenient (as it was) I don’t see the issue. Just because it’s digital shouldn’t imply it should be free when there had obviously been considerable time and money invested in producing it. Plus, it is now the ONE programme that I own that isn’t currently in a box in storeage!
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Post by ukpuppetboy on Aug 5, 2019 11:56:23 GMT
That's Easter Sunday, in case that helps or hinders anybody's planning! The J is for Jesus
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Post by ukpuppetboy on Aug 5, 2019 10:46:15 GMT
I remember seeing him in Hairspray, and thought his voice wasn't that special (Piers Bate - his understudy - was much better), but I guess he's been working hard in the last few years to be considered good enough for the part. That said, I am happy they've gone for a younger Phantom, which is my preference. Really? How long ago was that because he sounds absolutely amazing in this Sydney concert in June. More operatic than Anthony Warlow and Michael Crawford combined. And more handsome than any Raoul. Sounds like it could be quite the event at Her Majesty’s next month.
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Post by ukpuppetboy on Aug 5, 2019 9:58:36 GMT
Romantics Anonymous would be an adorable Christmas musical at the Menier (I mean c'mon, Chocolate Factory!), though I wouldn't enjoy the ticket prices! This is a genius suggestion. That show was one of the most perfect trips to the theatre in the last few years and it would be a great fit for the space. As well as being a joyous show for christmas time.
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Post by ukpuppetboy on Aug 5, 2019 9:38:24 GMT
Harold Prince 30/1/1928 - 31/7/2019 Majestic Theatre, New York 26/1/2013 (Phantom’s 25th Anniversary Performance) Photo credit: John Lamparski (Getty Images)
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TIME
Aug 5, 2019 9:10:12 GMT
Post by ukpuppetboy on Aug 5, 2019 9:10:12 GMT
I've never seen any of those pictures! Those floating chairs are still amazing and in that second picture, it looks like a model of the theatre rather than the real thing. That centre disc is huge, especially when you think how big that stage is. Great pics. Thanks for sharing No worries - your profile pic always brings up great childhood memories. I thought that too about the 2nd photo but there are details in there that make me think it’s the real thing. Like the revolving flood lights built into the side walls (which I loved when I saw it) and that projection mapped ceiling. Not sure. But a fascinating archive either way.
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Post by ukpuppetboy on Aug 5, 2019 6:45:17 GMT
I seem to remember reading that the RSC were "in negotiations" a while back. Nothing since, though. According to a 2005 Parliamentary Select Committee Paper their royalties, even in the mid-90s amounted to around £1m annually. The number of international productions may have slowed since then but adjusting for inflation and the renewed interest since the movie those will still be relevant figures and quite the loss if their royalty percentage were slashed (which it surely will be). Commons Select Committee Minutes - Funding (3/05)
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Post by ukpuppetboy on Aug 5, 2019 4:32:25 GMT
The whole of the stage floor raised up off the ground and then tiltrd 90 degress so it was niw facing the audience. Actually that moment is my current profile picture! If you enlarge it you can see how huge it was. There were huge floating hydraulic chairs that seemed to float across the stage. It had more hydraulics than Metropolis and the stage had to be dug out and rebuilt to hold it all. There was a thread on here a while ago about Time and its staging. I’ve been doing some random research into John Napier’s more epic set designs today and thought you’d appreciate these @tbfl if you haven’t seen them already. That was one immense fit-up, and the scale of design we’re unlikely to see again. I saw it as a kid towards the end of it’s run at the Dominion and it was unlike anything I’d ever seen - comparable to modern day Cirque shows in Vegas.
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Post by ukpuppetboy on Aug 5, 2019 1:50:45 GMT
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Post by ukpuppetboy on Aug 5, 2019 1:22:34 GMT
Childen of Eden, Moby Dick and Baker's Wife also (never gonna happen lol). I would dearly love to see that Piccadilly Theatre production of Moby Dick back in London EXACTLY as it was on it’s last night (which I happened to catch purely by chance on a recommendation). SUCH a fun, unpretentious, riotous night of theatre/panto with a great young cast and some wonderfully creative staging and design. Not sure any of the changes they’ve subsequently made do anything to improve the show. In fact the reverse. The original London Children of Eden directed by John Caird is something I really wished I had seen and it is the only version I listen to. A cast of future West End stars and another legendary Napier set. I’d definitely be up for this revival.
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Post by ukpuppetboy on Aug 5, 2019 0:53:49 GMT
I think it would work in a fringe studio, but I don't think it would stand up in a large house at all. It really isn't strong enough in its book, I think. The motivations are fine if kept small, but don't expand to fill the house. It was awful at Regent's Park Open Air, but that may just have been the casting and direction. Works best in a small environment, too, I think - see Spider. I didn't realise the Open Air Theatre had done it because that was a space I had in mind when suggesting it haha. Shame it wasn't good but the Broadway cast recording is so gorgeous that I'd love to see a proper revival on that scale. I’ve seen Ragtime twice; Once at the Ford Centre in Toronto (pre Broadway), and once at the Open Air, Regents Park. Total polar opposite productions in terms of scope and success. Whatever they were going for at the OAT with it’s modern set and odd staging choices was a total misfire - and one that I couldn’t forget fast enough. Marin Mazzie & Audra McDonald gave powerhouse performances that filled that vast Toronto stage. There was nothing at Regents Park that made it over the footlights. SO yes. While I’d love to see a revival I’d hope that it would be on a scale befitting this book and that score which, to-date, London has never seen. Totally disagree with you @theatremonkey about the book to Kiss of The SpiderWoman. I assume you saw the Hal Prince production at The Shaftesbury? I went god knows how many times - mostly in the Grand Circle. I thought it filled that pretty large theatre totally (surprising considering probably 70% of it revolves around a prison cell) and has a very strong book. Well maybe less so in the last 20 minutes, but still. And a small scale production was never going to cast Chita and Bebe who were both electric.
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Post by ukpuppetboy on Aug 3, 2019 21:25:09 GMT
Sir Trev did A Little Night Music 10 years ago at the Menier so cant see it being revived. After the Menier it went to The Garrick for a run and then to Broadway with Catherine Zeta Jones, Angela Lansbury and Alex Hanson who they brought over from the Menier. Catherine was later replaced by Bernadette Peters. CZJ was one of the best Desiree’s in my opinion. I thought you said you hadn’t seen it? Judy Dench’s “You must meet my wife” takes some beating..
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Post by ukpuppetboy on Aug 3, 2019 9:29:15 GMT
And is Che wearing only a pair of denim cut off shorts at the end? They could have at least got Ricky Martin back for that
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Post by ukpuppetboy on Aug 3, 2019 9:07:16 GMT
I hope someone isn’t turning in their grave right now
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Post by ukpuppetboy on Aug 3, 2019 8:08:41 GMT
How quickly can Macca finish off “It’s a Wonderful Life”?
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Post by ukpuppetboy on Aug 3, 2019 4:34:40 GMT
Please don't let this be an updated mess like Ragtime was a few years back. Surely NOTHING could be the mess that Ragtime was. Genuinely the only time I’ve ever left a theatre angry.
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Post by ukpuppetboy on Aug 2, 2019 20:02:26 GMT
Oh come on! It’s totally at odds with the style and tone of everything that has gone before. Whacky supernatural coda to all of the funky fabulousness that went before... Well I’ll have tears in my eyes at the line “I can’t wait to see you again, it’s only a matter of time” - but the way Philippa Soo did her gasp was very subtle so I thought it was beautiful. But again I was sobbing so I think I was in the zone for a whacky supernatural coda. More than willing to acknowledge if “heavy handed” it could be a bit cringe. Maybe
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Post by ukpuppetboy on Aug 2, 2019 16:52:27 GMT
Jessie J performs On My Own
I know the orchestra are joining rehearsals today but is it REALLY too late to do a tiny bit of recasting. Am loving Jessie J’s soulful take on Eponine here and (maybe reined in a little) she’d be awesome in a concert staging.
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Post by ukpuppetboy on Aug 2, 2019 9:31:37 GMT
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Post by ukpuppetboy on Aug 1, 2019 9:12:14 GMT
Every number is also very under tempo Given that Jason Robert Brown was present during previews, I'd be surprised if the tempi weren't exactly what he wanted. ^ THIS. I’ve been in the audience when he restarted Shoshana Bean’s performance of “Another Life” (in concert in LA) more than once because he wasn’t happy with the (almost imperceivable detail in the) sound mix. It actually got quite awkward for the audience who were seemingly all loving version 1 as is. Tempo is not something he would ‘let slide’.
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Post by ukpuppetboy on Aug 1, 2019 0:23:15 GMT
Steve,you are a true gentleman for what you have said.At no point was I ever out for character assassination on SS but I do sincerely apologise if my original post 24 hours ago has caused offence.I have both of SS’s albums and consider ‘And I’m Telling You..,’ on her MT album to be a masterpiece so I am not a hater,far from it. Massive thanks,Steve for putting everything into perspective.I needed that tonight.You have brought xanady some sanity,perhaps. My good wishes to each and everyone of you on the board! Well ironically it sounds like you’re a bigger fan than anyone ‘defending’ her here. Personally I only ever saw her in Little Shop, and though I thought she was great then I certainly don’t own any albums! Steve you are a fantastic arbiter... Westminster awaits your call first thing in the morning. And you can assure your wife that she can sleep soundly; This “creepy” poster is 10000kms away! I simply wanted to back up my summation that the comments seemed numerous, and personal. That you say otherwise is enough to put that to rest. Again I’m certain that nobody meant to post anything (directly or indirectly) to attack you or to cause you any undue stress; Merely to disagree with some things that were said or the way they were framed. I look forward to your future posts in other threads. I’m sure I’ll even agree with many of them.
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Post by ukpuppetboy on Jul 31, 2019 22:54:05 GMT
uk puppet boy,I made no reference to anything regarding mental health issues in any way,shape or form so don’t have a clue what you are alluding to or trying to infer or reference.I have made my points without being vindictive as you incorrectly state and I have made them very clearly and will stick to them.I will now bow out on this thread as offending the permanently-affronted pearl-clutching SS fan club is a fate worse than death....super lol. Oh FFS will you step back and listen to yourself for a second? Nobody has made any personal attacks on you - merely suggesting that this ongoing issue you seem to have with Sheridan Smith seems a little unreasonable, distasteful (and YES, vindictive) and the TEN (plus) personal/professional attacks you have seen fit to write within the space of a month perhaps overstep the mark. A little. There is very little sign of you displaying the empathy you state she apparently lacks (even more surprising in light of your last post). While SHE, an actress, seemingly warrants an ongoing stream of negative comments about her actions in her personal time off stage - YOU, a poster on a random forum, should seemingly be allowed to hysterically rebuke ANYONE saying anything in her defence. Of course you’re entitled to your opinion xAndy, but arrogantly dismissing anyone who disagrees with you as a member of the “ permanently-affronted pearl-clutching SS fan club” undermines it somewhat. You don’t like her. We get it. Your wife doesn’t like her. Noted. Now can we all move on with our lives?
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Post by ukpuppetboy on Jul 31, 2019 20:38:30 GMT
It really is a massive loss to musical theatre - and I for one will lament that we never got to see Hal Prince’s ‘social philosophic’ Cats with Queen Victoria, Gladstone & Disraeli! Perhaps some of it found it’s way into the movie (which would go some way to explaining Judi - complete with ermines and furs ;-) ) Along with Gillian Lynne he was a regular at Phantom, on both sides of the Atlantic & the show’s longevity (and continued freshness) is a testament to their professionalism & love of theatre. I hope with this latest sad passing it will continue to do so for many, many years to come. #RIPHal
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Post by ukpuppetboy on Jul 31, 2019 8:44:35 GMT
Handing out pics that could have been signed by anyone(see the limo scene in The Bodyguard movie) is better than nothing,but feels patronising and a bit 50’s Hollywood Superstar...which she is not! Know a lot of people who have seen this debacle and don’t believe she has been out once.Please correct me if anyone has met her at the Palladium SD.Plays the same ‘friend of the people’ character again and again on stage/tv/concerts but not willing to do the odd SD?Perhaps saving it for paid Meet and Greets? Reminds me of a Stormzy track that my son keeps playing...something about boots? This post is really quite unpleasant. I am no fan of Smith, but to call it "patronising" that she signs loads of pics and gets the security team at stage door to hand them out to people waiting for her autograph is ridiculous. Suggesting that she's not doing stage door as she's too above herself, despite her public persona, and planning to exploit it for cash is groundless character assassination. Not one stage performer is obligated to do more than perform on stage. Nobody has to come out of stage door and do anything for anybody who is waiting for them. This entitled opinion is a relatively recent phenomenon and it's one that needs to go away and fast. Personally I think popcultureboy was being generous in merely saying it was an “unpleasant” post. It certainly fit all the criteria of a character assassination to me and the fact that when challenged (politely) the author claims to be “deeply, deeply hurt .. on a personal level” perhaps suggests they should have more empathy with others who have a well documented history of mental health issues and the struggles of living life in a public forum and who seem to have worked hard to come up with a strategy of coping with that whilst managing to stay healthy and continue to do the job they love. Whilst that may conflict with some people’s selfish wishes to feel like they can get close to that person for a few moments or make demands on them outside of their job is irrelevant. And again, selfish. Write her a letter if you have something (nice) to say and I’m sure she will get back to you. But being (repeatedly) vindictive on a public forum surely proves that she is 100% correct in avoiding the whole stage door experience.
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Post by ukpuppetboy on Jul 28, 2019 10:03:28 GMT
The travelator design. For any fellow engineering/techie nerds... A beatuiful sight to wake up to! Not seen this before. Wow. Very appreciated here, thanks! PS. Where did you find this? You’re welcome 😉 Glad it wasn’t just me that was interested in the mechanics. It was from “Operafantomet”’s quite extensive Tumblr archive (and credited to a German programme originally). operafantomet.tumblr.com/search/Travelator
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Post by ukpuppetboy on Jul 28, 2019 7:15:35 GMT
The travelator design. For any fellow engineering/techie nerds...
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Post by ukpuppetboy on Jul 28, 2019 3:48:45 GMT
When I first saw the show back in 1986 I could have sworn there were two travelators at the back of the stage to make the ramps for the descent into the lair. Did I dream this? Or was one dropped? Hi Pitboy I’m fairly sure there was only ever one travelator, though admittedly I didn’t get to see the show until April’ 87 and there is very little in the way of photos or video of the title number from those early months (where I assume you think the two may have been present). For memory there maybe something from the 1987 Evening Standard Awards which I’ll try and dig out. The main reason I believe there was only ever the one would be for practical reasons in the staging and limited size of Her Majesty’s stage. The single travelator concept was already providing a solution for ALL configurations of walkways down into the lair (and later the raised platform for the cross in Wandering Child) as designed and therefore a second would have been unnecessary. ALSO, as there were initially plans for Christine to be riding down to the lair on horseback led by the Phantom this wouldn’t have been at all practical if they needed to switch walkways. It was mounted on a ‘skate’ that ran along tracks in the original travelator floor and was spun around 180º once inside the towers in order to continue with the descent once the walkway was on place. I can’t see how this would have ever worked with 2 separate travelators or 2 walkways using the same towers (without using multiples which would have removed the need for the horse to change direction). I maybe wrong but the only travelator difference from that time to now that I remember is that the original graveyard set didn’t have the Daae mausoleum beneath and as such the walkway was much closer to the stage. The Phantom emerged from behind the cross (instead of being concealed within it) and there was a pyramid of skulls in front in case you hadn’t had your fix from the auction scene.. www.playbill.com/article/exclusive-harold-prince-reveals-the-creation-of-the-phantom-of-the-opera-in-this-exclusive-excerpt-from-his-latest-memoirI recently came across this Playbill article from 2017 with very extensive excerpts from Hal Prince discussing the original staging of Phantom from his memoirs (which I now want to read). Pretty interesting for any big Phantom fan I hope you’ll agree. Seriously - what were they thinking with those doves and red-eyed rats?!
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Post by ukpuppetboy on Jul 20, 2019 0:01:11 GMT
The Lion King and Cats have both gone down the opposite ends of the spectrum and ended up deep in the uncanny valley for different reasons. Cats' characters' faces are too human and don't match the bodies and The Lion King's characters are too animal-like and don't match the voices so both feel a little off and it's very distracting as a result, especially when the entire cast of both films are like this. It's too fundamental an issue to ignore. I completely agree with everything here. Unfortunately both seem to be text book examples of the blind arrogance of modern CGI filmmaking; doing something “because you CAN” rather than for any real artistic contribution that suits the piece.
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