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Post by paddy72 on Mar 14, 2024 22:28:18 GMT
Even a ‘direct reference’ would need to be covered with some sort of bi line credit to the estate of Milton Glazer. Even where you don’t know the source of the artwork you add a line saying that all possible avenues for creditation and copyright securing were explored along with supplying a contact address. Can’t find one anywhere. Maybe they have paid for taking a direct reference without crediting ? Or is it AI generated?
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Post by paddy72 on Mar 14, 2024 19:39:46 GMT
You can only assume whoever's done the artwork hasn't seen the show... The design is so close to the famous Dylan poster created by Milton Glazer, America’s greatest graphic designer it’s going to be hard to defend legally. Why rip off someone else’s work so obviously? It’s lazy and pointless marketing. Was AI involved ? And of all the designers to rip off why choose Glazer? He is so revered and copyrighted. Also has a strong track record of Broadway artworks including creating the original art for The Wiz and the greatest campaign logo of them all, I ❤️ N Y.
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Post by paddy72 on Mar 14, 2024 7:34:45 GMT
I don’t know Ivo but I’d recommend he get himself a producer. If these co producers are instead backers they’re throwing away their talents as producers of so many other great productions listed in their programme biogs. All of them also don’t look like they’ve got so much personal private income to be putting in. Maybe it’s their own angels and investors money they’re playing with here.
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Post by paddy72 on Mar 13, 2024 20:36:17 GMT
Car crash or triumph. Two nights on from seeing it I still can’t decide. Everything everyone has said already in this trail is true. My still formulating memory is one of embarrassment for all the actors up there on stage having to keep going. I saw a lot of style but not so much clarity or substance. At times I felt like I was in a tv show audience watching a recording and that it would all make sense when watched later on telly at home.
My final thought is that in the programme three whole pages are given over to some 19 plus co producers. All are vibrant, active and intelligent industry alumni bringing not just backing (finance) and marketing pro but proven talents to shape a show. I’m not sure this is a case of too many cooks but the absence of one single, out spoken, strong minded producer. All too often directors are mistakenly credited with being the one who shapes a show. If you ever question the role of a great theatre producer then their absence here shows not just what they can do but how they can turn something promising - even a vanity project which is what I think I saw - into a viable work of theatrical art and success. Great theatre memories are made of this not of muddle and trouble.
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Post by paddy72 on Feb 13, 2024 0:08:14 GMT
APOLOGIES! I meant to write that this is a Jamie Wilson Production and not a Jamie Lloyd show.
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Post by paddy72 on Feb 13, 2024 0:00:11 GMT
I went in to this with low expectations but thanks to a solid first act found I really enjoyed and was moved by it. For reasons neatly highlighted by others in this thread the second half, when you get the show itself and a generational baton passing, looses energy rather than volume and becomes weaker. Your standard jukebox musical fare. In the first half the songs are integral within the plot and I found made the story better told. In the second half Bob’s moralising and the stuff about today’s young generation finding a voice reads like it has been scripted in Makaton.
All the performers, old and young, are brilliant. Especially Bob. They all earnestly deliver the clunkiest lines and sing like a dream. The choral pieces are probably the best to be found in Theatreland right now.
I’m not sure what they show is doing at The Old Vic. It is hard to see any evidence of Old Vic’ness up there on the stage and only a muted one line credit as an Old Vic production is claimed in the programme. The reality is that it is a Jamie Lloyd production conceived by his company as far back as 2020. Jamie is a fine producer of solid shows of which I would say this is now one and who is also now programming The Shaftesbury Theatre in the West End. It’s not hard to see how this will slot in there nicely and garner a good run. Along with a healthy tour. Everything up there on stage is economically and neatly packaged ready to go. However I would strongly recommend seeing it south of the river whilst the show is fresh and has credibility. It is not difficult to see what it could become once settled into a long run and in front of a less edified audience. Snobby I know but the irony of listening to a group in the row behind us scoffing crisps and booze in the middle of the famine newscast scene could not be ignored.
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Post by paddy72 on Nov 25, 2023 10:35:41 GMT
Nice reply Mickey Jo. You’re a gentleman.
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Post by paddy72 on May 23, 2023 19:43:45 GMT
Trailer is up on YouTube for the new movie. Fantasia is in it which makes me really, really happy. Saw her in the original Broadway run and she was spine tingling. Getting goosebumps hearing her again. Can’t wait!!!!
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Post by paddy72 on Mar 1, 2023 22:07:15 GMT
Oh I really hope you guys appreciate the book as much as I do. And the play. And Steva you are right it is intense but I found the graphically straightforward way she writes, particularly without issuing judgement on the traumatic actions of one of the main characters is what makes it such a powerful piece. I hope stary theatrically doesn’t turn it into something divisive.
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Post by paddy72 on Mar 1, 2023 17:52:32 GMT
No idea what the stage show will be like ( and no idea why it should be turned into one either) but the book is the greatest novel I’ve read. It’s big but once started it won’t be. You won’t want to stop if only because of all the devastating subject matter. . I believed the characters were real and still do. Sobbed like a baby more than once. The writing is beautiful. Sell your tickets Ensemble, and read the novel instead. Then read her latest which has just gone to paperback.
PS If you know nothing at all about the play I’d strongly advise you at least make yourself aware of some of the issues it will cover. The material in the book is not for vulnerable people.
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Post by paddy72 on Oct 22, 2021 18:50:19 GMT
Oh the Congress…. Well it was built in the 60s and for years was just round the corner from the TUC hotel. Getting a picture …? It’s a big old beast of brutalist architecture with a wide stage. Sight lines are great but particularly in the raised stalls and circle (which has no carpet) you are miles away from the action. It’s also quite an echo-y room and most productions over amplify to compensate. I saw bedknobs and broomsticks there and everyone sounded like they were a badly prerecorded sound track. Similarly the show used up only half the width of the stage which meant huge black wings. That said, the building is beautifully maintained, really clean, has a great cafe restaurant and super helpful and friendly staff. My advice is sit as far forward as you can get and above all enjoy Waitress. I’m envious….
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Post by paddy72 on May 20, 2021 23:22:53 GMT
My first play out the blocks in the West End. Tonight. Great to be back. Cruise is temporarily being given a home at The Duchess and deserves an honourable mention here at the very least. It covers the same ground as It’s a sin - AIDS epidemic in the 1980s. Telegraph has just given it 5 stars and whilst I wouldn’t be quite so generous it is a poignant piece of work. Certainly for me it resonated as a better memory of that time simple because it’s references and depiction of gay life were so much more accurate. It doesn’t get distracted by the prejudices of the time but remains centred on the story of what it was to have AIDS, be in a relationship and know that you probably would not survive. It’s really a love story. As you’d expect there is a sadness at its conclusion but again more accurately there is also redemption. No blame. No preaching. If you’re after a tragedy of homophobia this won’t be for you. Just recognition that life goes on even with loss. Straight through running 90 mins it’s great to back to be seeing a new play in a real theatre. FOH staff deserve a special call out for being so friendly and positive in keeping us safe.
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Post by paddy72 on Apr 13, 2021 15:36:04 GMT
Remember when M&S first did their Dine In for £10 and you couldn’t believe you could get a whole chicken, a large side, a profiterole tower and a real quality wine for a tenner. Now you’re lucky if you get a couple of fillets, a cheap salad, half a dozen profiteroles and a cheap wine you’ve never heard of for the same price. Cut price Phantom and Les Mis shows are what they are which is a a poor deal based on diminishing returns. Just a shame they’re still hanging on in there like a tired old meal deal. Maybe there’s another debate to be had now about the damage they have contributed to what should be a vibrant West End full of of new and exciting productions? Shame that all the money they’ve made over the years has been spent on restoring theatre buildings and not on investing in new product to fill them.
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Post by paddy72 on Mar 8, 2021 2:43:55 GMT
Gaw’d Megan. You’re only supposed to blow the bloody doors off!
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Post by paddy72 on Jan 31, 2021 12:02:14 GMT
Ford Populars (60s cars) were long gone even by the 70s. Victorian hospitals had been knocked down and replaced by 60s buildings like St Thomas’ and Guys and Gloucester Royal and countess other new NHS and private care hospitals. This was the era of ‘loads of money’ Thatcherism. Real people were living in Barrett houses, watching Brookside, Going Live and Dallas and shopping at Tesco, Next and Habitat. They really were chucking out all their 70s cloths and decor as for the first time they could afford to. Shopping and consumerism were rife as debt was easy and cheap. Even for poor people. We made tea in the mug, drank coffee from carafes and wore Calvins not big old 60s Great Universal catalogue store underpants. I could go on but you’ll get my point. Us real suburban families had more taste and talent that you give us credit for and the thrift, make and mend and get by life lived by the generation before was being shot to pieces by the hedonism of Thatchers children. And if you’re going to tell the story of AIDS that matters. Getting the story set in the right period context should show as its part of understanding what happened and why.
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Post by paddy72 on Jan 31, 2021 1:47:15 GMT
Give the kid a break. In the marathon of homophobic crimes this whole spat doesn’t even Get out the starting blocks. And since when did Christian and indeed all religion bashing become a legit sport on this site? What side do you take if you’re a queer Christian?
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Post by paddy72 on Jan 31, 2021 1:31:38 GMT
Loving this second series so much more than the first. Much more feisty. Real fresh alternative talent to be seen on the runway. Looking forward to next episode which has been heavily trailed elsewhere. Should give the brilliant and addictive Australia Married at First Sight a real run for its’ money.
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Post by paddy72 on Jan 31, 2021 1:16:23 GMT
Finally gave in today and binged the whole series in one go as was getting frustrated with the first episodes being so dull. I kept thinking it’ll take off any second now. If I’m honest - and with a few exceptions - I found it all a bit blah. Most irritating were the sets, props and costumes which were 60s and 70s rather than the Memphis pop design inspired 80s. Characters didn’t ring true at all for me especially when more interesting figures pop in quickly and are then abandoned. Won’t go there regarding some earlier comments on this being a great history lesson for today. Best bits for me were all the soundtracks which managed to dig up some much loved but forgotten ‘Keep it Capital’ floor fillers. Every track was Abandonment. That was my 80’s. Never want it back.
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Post by paddy72 on Jan 3, 2021 3:43:48 GMT
Floating around on YouTube is a very grainy black and white recording of the original cast performing at The Public in New York. What struck me about seeing the original again after all these years is how beautifully soft and gracefully fluid the dancing was. So different from the coldness of more recent productions with all the aggressive strutting step kick knee kick step stuff. The steps are the same in the film but you can see dance interpretation instead of imitation. What was also so powerful was the realisation that the actors weren’t acting. They were telling their own stories or those of their friends so there were no parodies or pretence. It made me remember how genuinely moving it was as it was giving you an insight on the reality of what a dancers life was like on Broadway. The only show for me that has ever come close in capturing such honesty was London Road at the National. Totally different subject matter but equally as captivating in its honesty. A Chorus Line never was the big, brassy, high energy, definitive knock em dead block buster, show off, Broadway musical that it is so often mistaken for. It was just a chorus line of dance loving dancers telling their stories openly and at times devastatingly. The tragic aftermath is of course that as you watch the YouTube copy you realise that you are actually watching ghosts of people some of whom died way to soon.
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Post by paddy72 on Jul 28, 2020 13:46:44 GMT
Caught this last night. Agree with all previous comments. A travesty. Drag Panto. Unfunny and Charmless.
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Post by paddy72 on Jul 28, 2020 13:39:22 GMT
Anyone know who owns Her Majesty’s theatre now.? I always presumed it was ALW or CM which would ensure that phantom was one of the safest productions in the west end when it came to issues of closure.
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Post by paddy72 on May 26, 2020 23:27:54 GMT
Good Radio 4 documentary tonight tracing back the origins of coronavirus in the UK. It puts the blame right on the government for not shutting down all the major sporting fixtures much much sooner. At the time the govt and it’s advisors did not consider them a close contact risk. Mad. Have they never been to a match. In particular Mapping now shows the huge impact of Cheltenham Gold Cup which still took place after the WHO declared a global pandemic and the Athletica Liverpool match that still went ahead as Spain went into lockdown and Madrid was even offering travelling supporters refunds on travel costs to the match. Interestingly Boris was also as the Twickenham rugby match along with other MPs the weekend before. The government knew the risks of these events and still didn’t shut them down.
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Post by paddy72 on Mar 24, 2020 15:25:38 GMT
Seeing Fantasis Barrino in The Color Purple. Hearing her singing ‘I’m here’ wrecked me. I was a couple of months out of St Thomas’ stroke ward and there I was in a big broadway theatre hearing and seeing a performance that was simply transcendental. Her voice still rips my soul apart. A distant second choice was ‘I got love’ from Purlie. Can’t remember who sang it. Bit of a take me to church / gospel thing going on here.
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Post by paddy72 on Mar 8, 2020 19:05:24 GMT
Didn’t twig I was watching the final performance this afternoon till the curtain call and heart felt speeches. Great atmosphere throughout but it cannot hide the fact that this is a thin show. Six songs in and I was fearing it would be a quick interval exit for me. However it all suddenly changed with the Disco song which is a genuinely great musical number perfectly conceived for the message it delivers. The best Show tune I’ve seen all year. That was followed by a second good song and then it all fell apart again. As for the story line it goes no where other than into a finale pantomime dame knees up. With the boy in the dress and his cool pretty young girl friend sniggering at the dastardly headmaster villain, an old man who secretly cross dresses, the whole moral in the story was shot to pieces. The takeout was that if you are young and different celebrate now ‘cos old age is going to get rough. All the usual top quality production values you’d expect from the RSC but ultimately for me not a patch on Matilda and in need of serious show doctoring if it is to have a life beyond today.
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Post by paddy72 on Feb 18, 2020 4:57:33 GMT
Interesting and daring topic for a musical, but I'm not too crazy about the all-white male creators of this show. Can't say that I'm not intrigued. Not getting your innuendo on white male creators. Intrigued to know what’s behind it. Say more please.
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Post by paddy72 on Nov 25, 2019 23:15:17 GMT
Even when they’re great - which this one is - why, in my opinion, do jukebox musicals suck. Not because of the sensational songs, the fabulous talent on stage and certainly not because of the spectacle. & Juliet just feels diminished and small and old. I felt I was watching X factor from back in the day. It looks like it, dances like it and with so many snippets of tracks you know, paces and sounds like it. But all that is probably positive as this show is aimed at the Nick generation and that’s why it’s clever. Lots of social empathy and empowerment with a thick coating of escapist tosh. Loved it. If only as far as the tube home.
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Post by paddy72 on Oct 25, 2019 13:30:52 GMT
Beautiful new theatre space with a fab, foyer bar, restaurant and smartest west end theatre loos ever Great and talented cast working really hard. But for me the piece itself was baffling and ultimately repetitive and dull. I couldn’t work out the story thread at all and the songs that came one after another all sounded the same and the lyrics never strayed beyond cliches about stars and subway trains. Only the one song called Heroes caught my ear. The rest of the time I drifted off admiring this fantastic new building. I hope they can programme some less academic and more entertaining work. In the meantime the bar makes a great new meeting venue right in the heart of Soho.
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Post by paddy72 on Sept 28, 2019 17:37:07 GMT
Loved this too. Very thin audience this afternoon but the unexpectedly big cast still gave it their all and the choral singing was stunning. The lead - Angela - sang with genuine heart and her solo numbers were gorgeous. Sorry I can’t recall her name but she is thrilling. I think she was in Titanic and the show over all reminded me of that production. Really classy. I thought the second half better than the first only because there was more book and less songs. I really hope this production has a life beyond this short tour. After the recent Sheffield musicals, Billionaire Boy (Coventry) and now this show, regional theatres are now creating better original musicals than London and especially the moribund West End. Well worth the short journey out to Croydon. PS good to see this ‘new’ old theatre back in operation.
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Post by paddy72 on Sept 7, 2019 17:46:28 GMT
OK so this is one of the greatest musicals every written and it it’s title song is the most thrilling. But this production for me pulled off the incredible feat of making it one of the most boring shows I’ve sat through in a long time. I’m not going to pull apart the casting, creative and performances. It was for me all just dull. This show should be as big and epic as Oklahoma itself yet here in Chichester it has become small, domestic and even claustrophobic. Sorry everyone. My first ever negative review on Theatreboard for which I feel the shame. However to take a mighty show like this and make it small and sweet is a sin in my book.
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Post by paddy72 on Aug 25, 2019 22:22:47 GMT
Furet, your parents are absolutely right. I remember it at the Barbican and the revolve slowed momentarily after the battle scene to create a never to be forgotten neoclassical painting illusion - think it was that painting by David(?) - and then it moved on and was gone. It was spectacular. Without that original RSC production and all the invention that was poured into it I don’t think Les Mis would have lasted half as long as it has. The current productions fall far short to me.
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