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Post by nick on Jun 14, 2017 17:02:26 GMT
Dr Faustus - Royal Exchange Manchester, Ben Kingsley - mid 80s. A truly stunning production that used the theatre space so effectively. It couldn't have played anywhere else.
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Post by nick on May 19, 2017 10:43:24 GMT
Nice theatre, nice bar etc but be warned, last time I was there a guy was 'on his phone' checking out people's bags and saw I spotted him and then vamoosed. I told the foh. I always want to carry a bag with something disgustingly squishy in, just in case.
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Post by nick on May 18, 2017 14:37:23 GMT
I've just booked for this too. I've never been to the Park. It looks tiny.
Also very interested that the BFI are having an Orton season in August. IMO his TV plays are his best work. Sheila Hancock and Edward Woodward in Entertaining Mr Sloane are pretty stunning - Sorry Beryl Reid didn't do it for me.
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Post by nick on May 17, 2017 18:18:52 GMT
What about Godspell? My favourite. Some good stuff in Pippin as well. Agree about Wicked though. The Baker's Wife is a beautiful score. This thread has inspired me to seek out both The Baker's Wife and The Magic Show.
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Post by nick on May 17, 2017 17:36:28 GMT
Overrated - Stephen Schwartz *ducks for cover* I just don't find any of his songs that memorable or impressive, with the obvious exception of defying gravity (but the cynical part of me wonders if even that's just because of its exposure) I like virtually all of the songs from Wicked. But from his other shows I literally only like Corner of the Sky from Pippin. Horses for courses. I went to see Menier's Pippin 3 times getting half price tickets because it was so unpopular with most people.
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Post by nick on May 17, 2017 14:21:39 GMT
Overrated - Stephen Schwartz *ducks for cover* I just don't find any of his songs that memorable or impressive, with the obvious exception of defying gravity (but the cynical part of me wonders if even that's just because of its exposure) What about Godspell? My favourite. Some good stuff in Pippin as well. Agree about Wicked though.
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Post by nick on Apr 6, 2017 14:37:47 GMT
The Manchester Royal Exchange is my absolute favourite - a lovely space and so friendly. Here here. I shall never forget seeing Ben Kingsley as Faustus there in the 80s. My all time favourite production ever in an amazing space.
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Post by nick on Apr 3, 2017 16:26:39 GMT
I would love it to be falsettos especially if it could have the recent Broadway Cast (although if it did they would probably not be in it) Or other ones I would like to see are pacific overtures,Godspell,Hedwig and the angry inch or side by side by sondheimMuch as I Much as I'd like to see Godspell, I can't see Menier doing it. I adored Pippin and saw it three times but I was in the minority buying up half price tickets. Compare that to last year's winter show - sold out in a flash.
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Post by nick on Mar 29, 2017 12:01:43 GMT
When dance shows are revived, such as your West Side Stories, Chicagos and your 42nd Streets etc etc how is the choreography recorded in order to revive it accurately? Is it written down like a score or a script? If so is every single step recorded or just the "gist" of the routine which allows future choreographers some license to add their own bits? If it's filmed, what did they do before entire shows were filmed? My wife was a choreologist - recording dance on paper. There are two systems, Benesh and Laban. Benesh uses a larger version of music paper with the lines representing head, chest, waist, knees and feet. Then imagine stick figures with most of the lines removed so just the extremities are there. It's used mainly for ballet. Laban is a completely different system. I'm not sure how well it is used. Choreographers will often have a personal choreologist to record a new ballet but it's reconstruction is usually a combination of that plus finding original performers to aid in the reconstruction. I don't think video/film is used very often.
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Post by nick on Mar 21, 2017 8:52:33 GMT
Not a talent show but infamous in hindsight, I sat behind Jim on the beanbags on Jim'll Fix It in 1975. My brother's 'fix' was to meet Peter Cushing.
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Post by nick on Feb 22, 2017 10:23:22 GMT
Yay. Thanks everyone. I had a ticket for last night but couldn't go. I looked at your comments this morning which prompted me to hop onto the website and I bagged 2 centre row B seats for £15 each.
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Post by nick on Feb 10, 2017 10:46:15 GMT
I wonder if the admin would think about adding a 'touring and regional' section like the 'international' section. Mind you that would be an admission that the Theatre and Musicals sections are so london-centric
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Post by nick on Feb 7, 2017 15:43:01 GMT
I dont know the answer to that one either. I have a friend who is in it currently and is always offering me tickets. Just never get round to it I love the irony of your user name. A bit of info you've not freaked over.
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Post by nick on Feb 7, 2017 15:29:07 GMT
I'd just like to say that I don't know 'whodunnit' in the Mousetrap. Is this a record?
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Post by nick on Jan 24, 2017 18:24:06 GMT
Wed 8 Feb 19:15 live relay to cinemas of Woolf Works I've never been to a live relay of dance. One of the things that really annoys me about dance on film/TV is the director trying to find what they think of as interesting shots that are often of the dancer's upper bodies while I want to see either the individual (or paired) dancers full bodies, especially their feet, or to see the patterns unfolding as the corps de ballet strut their stuff. It aint rocket science - we're watching a ballet not a drama production. mini rant over.
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Post by nick on Jan 24, 2017 8:42:44 GMT
... In terms of where to sit, Alessandra Ferri's performance, which is delicate and nuanced rewards a close viewing while the patterns in the second and third dances are probably best at a bit of distance/height.... Ah well my wife was a dancer and loves Ferri so she was probably in the right place downstairs. I think I was a little too tired to fully appreciate it. But certainly worth seeing. Row D eh. I was in the centre of row C so perhaps you were behind me?
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Post by nick on Jan 21, 2017 16:58:40 GMT
Hm. I'm not sure what I think. Great staging, interesting choreography and beautifully danced. I was in the Ampitheatre while my wife was in the stalls (free tickets so can't complain) and I thought I'd got the better deal because I could see the staging (and lasers) but my wife joined me for the last act and she reckoned that being close gave you a better connection to the dancers while further away made it all seem quite clinical and unengaging.
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Post by nick on Jan 20, 2017 8:12:57 GMT
I'm off to see the final dress rehearsal of this tonight. Did anyone see it in 2015 and have any comments?
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Post by nick on Jan 14, 2017 18:22:43 GMT
My go.
First Theatre Celeb - Getting Snow White’s autograph in Woolworths (aged 4)
First West End show - (aged 12 in 1974)
Best theatre week - spending a week in London 1978ish to see Evita, Annie, A Chorus Line, Rock Horror Show, Godspell and a review musical I’ve forgotten the name of.
Best theatrical experience - Ben Kingsley as Dr Faustus at the Royal Exchange Theatre Manchester in the mid80s.
First Ballet - Royal Ballet Leslie Collier in a triple bill including Elite Syncopations late 70s
Memorable onstage appearance - playing Tybalt in Romeo and Juliet alongside David ‘Heartbeat’ Lonsdale - late 70s
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Post by nick on Jan 10, 2017 20:23:29 GMT
Actually we're historical re-enactors. Normally we do Tudor re-enactment but 3 years ago we decided to have a go at creating a 1970s campsite set in 1976 - so Nuts in May is perfect 'research' material for us. I don't think Alison Steadman got it at all but she didn't seem too frightened to talk to us!
And thanks for the welcome. Seems like a friendly board.
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Post by nick on Jan 10, 2017 10:11:36 GMT
The Alison Steadman interview at the BFI tonight, Mike Leigh and Janine Duvitski were sat in the seats behind me (apparently Roger Sloman was also there somewhere but I didn't get to see him). A group of us went to see Nuts In May on the 2nd January and Alison sat next to us with some friends. We had a nice chat - she was wearing the scarf she waves around near the end of the play. We were all dressed in full 70s gear (don't ask) which confused her a little.
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