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Post by althea on Dec 2, 2023 7:11:22 GMT
How is most if the show staged? Is it centered? Or are they more creative with the use of space? It’s all on a revolve - lots of people pushing on the set pieces. Apart from the opening WOW it’s all quite dull.
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Post by althea on Dec 2, 2023 7:10:28 GMT
Saw this on Friday night. Big fan of the TV show and enjoy a prequel that adds more to the overall story. However I felt this whole production was incredibly mediocre. Some nice effects - the first wow scene is impressive but after that it’s nothing we haven’t seen before. The closest thing to compare it to is Ocean at the End of the Lane which blew me away at the Dorfman and again at the Garrick. This just felt quite numb and lacking in emotional depth. Even comparing it to Harry Potter which is a terrible play but the production was 10/10 wow this was just meh…. Really wanted to love it but no demogorgans and no great ties to the show it felt like a poor idea executed at a mid level. If you hadn’t seen the TV show I don’t know how you would follow it but 3 hours of this was overkill and by the end I wasn’t sad for it to end. Glad we only paid £57 for front row of the dress because these seats are now £250 each and £500 for this night at the theatre would be much better spent on seeing 10 x £50 shows.
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Post by althea on Nov 30, 2023 12:38:30 GMT
Ticket for Saturday night - front row of the Dress on the notice board if anyone’s interested. £57 instead of £125.
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Post by althea on Oct 16, 2023 14:07:57 GMT
Yes please to the lottery x
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Post by althea on Dec 8, 2022 13:13:29 GMT
I've got 2 £10 tickets to see this on January 6th but I'm now in New York to catch the last week of Beetlejuice in case anyone fancied swapping with me for something before the end of the year? So desperate to see this but the call of Alex Brightman was too strong.
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Post by althea on Dec 14, 2019 0:11:59 GMT
This is honestly one of the most amazing beautiful productions I’ve ever seen at The National. The theatricality and the puppetry blew me away. The story is moving and funny and gripping. This is going to be the next big hit for the National. It’s Curious Incident but even better. Get one of the few remaining tickets NOW!
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Post by althea on Jul 26, 2019 13:26:55 GMT
Has anyone got a full list of the numbers in the Broadway Production? I've tried combing through the BroadwayWorld board but all anyone can seem to talk about it the restricted views and Wiki only has the Boston list. Something tells me it's the same song list. I haven't been keeping up with the BWW mssg board, because as you said, all they talk about is the seating. But what I gathered is that it's the same show from Boston. It doesn't look like they made any adjustments or changes. I could be wrong, but I'm sure someone would have pointed it out by now. I heard they’ve cut the Florence/Zidler Number from act 2 or replaced it with something so I don’t think it’s exactly the same as Boston. Sadly it does sound like Firework is still in there...
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Post by althea on Jul 23, 2019 11:19:17 GMT
Saw this last night and agree with everything that's been said. The show itself is fine but it's far too long and doesn't have enough story to carry it through. Found myself counting which characters had already sung their numbers and then trying to work out how many more we were going to have to sit through. Cast are fantastic but the show just doesn't live up to its potential. Also why is VHB playing the mother to a 25 year old? That was incredibly strange.
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Post by althea on Jul 23, 2019 11:16:32 GMT
Has anyone got a full list of the numbers in the Broadway Production? I've tried combing through the BroadwayWorld board but all anyone can seem to talk about it the restricted views and Wiki only has the Boston list.
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Post by althea on Apr 5, 2018 10:11:54 GMT
Saw this last night. Wow. From a writer with such a strong pedigree this was incredibly disappointing and considering that this is a transfer it doesn't really have the excuse of being a preview. I loved Ink and Labour of Love - both clever, informative, moving and funny. This play has none of that - it's like they swapped out anything that resembled an emotional arc or wit and replaced it with either a gimmick or a pretty poor Chris Tarrant impression.
The play basically shows us the events of the coughing scandal in benal detail. By the end of act one they had just told the story, by the end of act two they asked whether there should be a trial by media. I understand the statement but WHY choose this boring story to recreate when they could have made their point with something original and with higher consequences for the protagonists.
The gimmicks are pointless - there's a warm up guy who spends a good 6 minutes at the top of the show trying to get the audience to ooo and ahhh in the right places - all you wanted them to do was get on with it. You can cast your vote with some pretty tacky technology and don't start me on the pub quiz and throw back gameshows that the audience are forced to take part in.
Performances are fine but you're so bored by the end it doesn't really matter. Sat on the stage - perfectly comfortable but didn't really add anything to the show.
A shame that this is taking up space in such a great house.
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Post by althea on Dec 13, 2017 10:21:04 GMT
Opening night tickets acquired! Plus they're better than the rubbish seats that Ticketmaster allocated me in the re-shuffle! Whoop!
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Post by althea on Nov 29, 2017 23:30:09 GMT
And on another note - I saw the matinee today with Moya and Brennyn and they killed it. B is better than Lissi ever was - her sheer stage presence was incredible and she only had a week to learn the whole show she didn't step a foot wrong. Moya was incredible - her acting was better than any of the girls that have come before her and her vocals were insane. I'm so happy that all the bad blood from the first company seems to have been weeded out. This show felt slick and full of energy. So happy that this is continuing!
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Post by althea on Nov 29, 2017 23:26:56 GMT
Kelly Clarkson from this week's was recorded two weeks ago. From what I've heard they're ducking all the main cast out of the show on Saturday afternoon to pre-record. So if you're seeing the Sat Matinee I think it will be all covers.
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Post by althea on Nov 23, 2017 11:54:39 GMT
Yes, I think they would have benefitted from another workshop between Sheffield and London to fully doctor and incubate the show. Same with the preview period- I'm not sure if they used the previews for content/structural reconsideration or if it was just an extended public technical rehearsal. What they need to do isn't that impossible or radical. Between these last three pages, I think everyone here as given notes that are very clear, practical and doable. I completely agree with you. I'm just very frustrated that they didn't do them because this SHOULD have been AMAZING!
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Post by althea on Nov 23, 2017 11:53:31 GMT
However if you strip back the staging etc and the cheap look of the show shouldn't these smaller shows be BETTER than the blockbusters in their content? I think they have more of a responsibility to be fantastic because they have to prove themselves harder especially when they are dealing with a niche subject matter that isn't immediately going to appeal to a wide audience. As I said I really wanted to love it but there's no denying the fact that it's not very good in a lot of places - more than it's fantastic (I was completely with it for the first 25 minutes thinking YES here's a smash). Yes it is joyous in its message and I'm not debating that - but just why ISN'T it better when it had so much potential? A few cuts and changes could easily have made this an actual 5* show rather than the 2* show it really is... Which bits are "not very good" for you? It sounds mean to go into it because I didn't want the purpose of my post to rip it to shreds but if you want specifics... The cringey dance sequence. The lack of focus on who the villain is meant to be (is it the teacher? not really... The bully - kinda?... The Dad...yes he's a dick but not a strong enough presence to be the main bad guy). The lack of focus in the second half of act one. Poor structure - no act one or act 2 finale. Also it should have been edited down considerably - the new song Ugly doesn't do much for the story so could be lost and the Loco Chanel sequence doesn't make the most of what it could be and is too long. I just think the creatives thought they had it nailed after their 19 sold out performances in Sheffield and rode that wave to Shaftesbury Avenue.
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Post by althea on Nov 23, 2017 11:38:57 GMT
Yes - all is true. But this is a team that is clearly young, inexperienced and doing this for the first time. They don't have the backing, cash or resources that a Sonia Friedman or Cameron Mackintosh have to doctor a show. But you can tell that to them it's a lot more than just commercial enterprise. In ways that is naive if you have a show on the West End - in other ways, it's completely admirable, and I think their passion and love totally floods the auditorium. I'm not easy to please and I am such a huge cynic and very unforgiving to West End musicals, but this little show, despite its flaws, completely won me over. Can't wait to see it and share with my friend on Saturday evening. Exactly Ali- as much as they're 'sharing stages' with other musicals in the West End with that backing it's unfair to compare note for note (or pound for pound) because they simply don't have the resources that the 'Big Boys' have- and I think it's really admirable what they've done. I also think it's really important we DO see smaller producers/theatres get their West End transfers because otherwise we'll be back to the 80s with homogenised 'Super Shows' that say nothing, do nothing and are just 'pretty'. I'm all for a slick West End Friedman produced spectacle, but there's space for a few Jamies alongside that too. However if you strip back the staging etc and the cheap look of the show shouldn't these smaller shows be BETTER than the blockbusters in their content? I think they have more of a responsibility to be fantastic because they have to prove themselves harder especially when they are dealing with a niche subject matter that isn't immediately going to appeal to a wide audience. As I said I really wanted to love it but there's no denying the fact that it's not very good in a lot of places - more than it's fantastic (I was completely with it for the first 25 minutes thinking YES here's a smash). Yes it is joyous in its message and I'm not debating that - but just why ISN'T it better when it had so much potential? A few cuts and changes could easily have made this an actual 5* show rather than the 2* show it really is...
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Post by althea on Nov 23, 2017 10:47:46 GMT
... isn't Jamie set in Sheffield? One of the top ten largest cities (by population) in the UK? The Rome of the north, with a thriving student population thanks to its two universities (one of which is the eighth largest in the UK)? I mean, stop me if I'm wrong and Jamie is actually set in a small town outside Sheffield, I haven't seen it yet, but if it is indeed set in Sheffield, then please allow my defence of Sheffield as "not a small town actually" to stand. I thought it was set just outside Sheffield. Needless to say it’s still surprising that there’s an exclusive shop for drag queens when I can’t think of a place like that in London.
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Post by althea on Nov 23, 2017 10:43:48 GMT
I don't specifically disagree with Althea's assessment- sans the bribery and fear of being labeled homophobic. No- it's not expertly put together - that is obvious from the points you have pointed. But just because the form and structure of the show isn't completely polished, it doesn't make it less delightful or entertaining. Isn’t it just a shame that it isn’t better? There are so many things they could have done to fix it in previews and let it develop. My opinion is that the creative team were too close to it and the producers should have brought in an outside source to help them shape the West End incarnation.
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Post by althea on Nov 23, 2017 10:41:15 GMT
Sorry what I meant about the reviews was that if the reviewers had torn the show apart they might have been criticised for being homophobic by Jamie fans.
Also producers have been known in the past to buy star ratings from papers because they agree a certain amount of ad spend in the paper in return for a starry review.
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Post by althea on Nov 23, 2017 10:10:19 GMT
I REALLY wanted to love this show but I think the accolades it's been getting are more of a result of people not wanting to seem homophobic or being negative about original British theatre. Either that or the producer has paid for them.
This show is average at best and hasn't transformed enough from the Sheffield staging to warrant a West End transfer. The book and direction are clunky and apart from the opening number lacks energy. There are some good one-liners but a lot of the show falls flat. The entire section in the drag dress shop (also for a small town it's slightly astounding that there would be a such a shop - I wouldn't know where in London to go and get a good drag frock in men's sizes) literally drags and the actor playing the "legendary" Loco Chanel just looks uncomfortable. The big moments of the show fail to ever materialise. We never actually get to see Jamie in drag as Me Me Me and the second act gets taken over with a confusing arc to go to the prom in drag but in the end lets you down as well by confusing drag with transgender issues.
I really don't want to hate on something that I really enjoyed and shouted about in concept album stage and the show is a story that should be told in 2017 I just didn't think it was good enough. John McCrea is an excellent actor but a below par singer, the staging of the ballads in act 2 just become samey and dull and if you're going to have contemporary dance in one part - make it a part of the whole show or it just feels like a lazy way of filling the stage when you don't have any interesting set. Also pick a finale and end on it - don't have three lack lustre ones that never get a WOW factor.
When this closes early (and sadly I think it will) everyone will be talking about how audiences don't support British writing and the West End is doomed to be filled with a plethora of Jukebox musicals - when actually that isn't true. If something is TRUELY great people will go and see it, Jamie just isn't it.
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Post by althea on Jun 1, 2017 23:32:55 GMT
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Post by althea on Jun 1, 2017 22:45:46 GMT
Met someone who is in the cast and was in the original Sheffield production. They confirmed it for Oct. On sale July.
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Post by althea on Jun 1, 2017 13:28:11 GMT
Apollo Theatre - October!!!!
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Post by althea on May 2, 2017 10:26:26 GMT
Oh my god!! I had no idea they were even doing this and I would have missed it if it wasn't for you guys!! Thank you!!!!!!
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Post by althea on Apr 21, 2017 10:57:31 GMT
Whoop Amber's amazing AITYING is now on Spotify!!!
Giving me pure life!
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Post by althea on Feb 26, 2017 12:36:27 GMT
When do we think we'll hear the casting news about this?! I am still holding out hope for Tyrone Huntley back as Judas! I doubt he'll do it. He's contracted in Dreamgirls until December I think. Also why go back to a role when he's going to have his pick if he decides not to continue with DGs/doesn't transfer with it to Broadway.
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Post by althea on Feb 24, 2017 15:07:36 GMT
So desperate to see this but train fare from london is £80! Just can't justify it. Anyone heard any rumblings on transfers?
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Post by althea on Feb 19, 2017 13:47:18 GMT
Today in the very same place I watched a show about a beautiful, out, proud gay 16 year old along with an audience of kids, youngsters, middle aged couples and grandparents, every one of whom jumped to their feet and raised the roof with their ovation. Disappointing that not even one single wheelchair user or anyone else with mobility issues attended this performance. Or perhaps they were "healed" by Jamie?What on earth are you talking about? ?
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Post by althea on Feb 18, 2017 15:30:04 GMT
I haven't seen the show but I'm disappointed to hear that it's about a drag performer, which sounds a bit old-fashioned and musical theatre stereotyping, when all the secrecy publicity had led me to expect that Jamie was transgender. Is this show a case of musical theatre being twenty years behind the times yet again, as is its general reputation, perhaps unfairly? It's not old fashioned. He's 16 and already out and he wants to show off his drag persona. It's based on a really moving documentary that was on BBCThree. It's a great show for gay youth - they don't have anything to relate to in La Cage or even Priscilla with its middle aged characters. This is celebrating the LGBTQ+ community and especially with the success of Drag Race definitely has a place in pop culture right now.
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Post by althea on Feb 18, 2017 13:36:08 GMT
Is Andrew Rannels coming over to be King George? James Cordon said this week on his show when they did the valentine's skit that Andrew had flown over from London early to rehearse. Is this just my wishful thinking? Why else would he be over here?
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