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Post by Ade on Jan 16, 2019 14:54:40 GMT
Well do let us know what you think Ade , if we're lucky it might broaden the conversation, or if you loathe it, that might work too. Indeed Ade, I hope you and your bladder enjoy it. Meanwhile I'll be next door at I'm Not Running. My bladder definitely won’t enjoy it. Liquid ban in the two hours prior to make sure I don’t need to dash out. If anyone hears of rumours of someone fainting a la Cleansed, it’s probably me from dehydration.
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Post by Ade on Jan 16, 2019 14:41:12 GMT
I can't remember another thread on either this or the previous board where I've veered so much between laughing and despairing. I’m with you on that. I happened to get tickets in the ballot and happen to be going tonight. But if I hadn’t managed to get tickets I’d hardly be in uproar about it. Have been on both sides of the successful/unsuccessful coin over the years. The way I see it, an incredibly well known actress is doing a play she wants to do (probably for creative reasons and in an auditorium fitting to the material, not how many bums they think they can get on seats - hurrah!) and the theatre has taken steps to try and ensure tickets are distributed fairly. Yes people have missed out and yes it’s not been that smooth, but it’s surely fairer than everyone scrabbling with hold queues and system errors at a time when you were probably at work or commuting in.
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Post by Ade on Dec 18, 2018 21:46:57 GMT
Once upon a time (in a land far far away) - sorry I have seen too many pantos recently, a big star would have filled these theatres for a few weeks residency - such a Judy Garland, Frank Sinatra, Dean Martin etc. and even now comedians and singers could do the same thing but they have chosen to go down the arena tour route - far less shows/work and a bigger return. But how brilliant would it be to see French and Saunders at the Dominion or Cher, Kylie, Bette Midler? I hate arena shows as you end up paying a fortune just to look at a screen all evening and arena shows just don't work for comedy at all. How great it would be to see these artists in the relative intimacy of a large theatre? I wish Hugh Jackman done the Dominion or the London Palladium for a few weeks, than doing the 02, for 2 nights at least the benefit of doing one of the theatres I suggested you get to see him live!!! I’d imagine for many performers the decision comes down to time. If they can spend 2 nights in an arena and see the same number of people as they would in 2 weeks in the theatre, from their side of things it’s a far more attractive proposition. I agree longer term residencies would be amazing but it’s a big ask for many performers to commit to that, especially if it’s part of a much larger tour.
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Post by Ade on Dec 8, 2018 10:28:34 GMT
They had about a week off in November as well, maybe something else going on at the theatre? Could be. 2 weeks off from Tues 8th then back for 5 day til close - seems rather strange. Antony and Cleopatra is playing on those dates
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Post by Ade on Dec 4, 2018 7:15:19 GMT
Lots of £15 tickets on sale for the last couple of weeks of the run I logged on last night by chance and bagged a couple of front row ones. Very pleased as I wasn’t able to go when I originally had some booked the other month.
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Post by Ade on Nov 24, 2018 21:24:34 GMT
Not many seen this run so far? I know it's only been a few performances. I'm seeing it tonight on a TodayTix front row Rush. I saw it last night and am not sure what the fuss is about it. I struggled to connect with it at all, and can’t quite decide if that’s the production itself or a poor fit in that theatre. From my seat in the dress circle I felt very removed from the action and it didn’t absorb me in the way I was expecting it too.
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Post by Ade on Nov 17, 2018 13:49:54 GMT
the last visits i took to London i always was debating what to see and "everybodys talking about jamie" was always in the choices and never made it , something at the performances at WEL and this one here, don't know why, never makes me want to see it Don’t worry, you’re not missing much. It’s pretty dreadful. John McCrea has a nice pop voice, but his character is insufferable and his acting is pantomime at best. Lucie Shorthouse is currently the only good cast member left. Josie Walker was phenomenal, her replacement is not a scratch on her. She doesn’t even look old enough!? The ensemble mime everything from a click track. The direction is boring. The choreography is nice, but not performed with the attack and finesse it needs. Overall, it’s bad. I have no idea why everyone raves about it? This echoes my thoughts exactly. And was massively underwhelmed by the Children in Need performance too.
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Post by Ade on Nov 15, 2018 21:43:49 GMT
It has properly divided opinion in my office today. It was very much a love or hate division, and seemingly related to personal opinions of Elton John. I managed to convince a few people though, that as said above it’s a heartwarming story, and i do believe that if they had made this exact story about a fictional character it would have been far better received.
However, I also agree that it’s blatantly part of the PR to build up the noise around Elton John ahead of the movie and the tour going on sale tomorrow.
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Post by Ade on Nov 8, 2018 12:02:42 GMT
Can I just confirm with the other members of ODRAS* that the drum revolve is not actually in use in this show? Rather they've built a new revolve system with it's own lift for this, and dearest drummy just stays still for the whole evening? In terms of the show, others have said everything to be said, I thought it was good but not great, a lot of which could be fixed before another production. The only thing that nobody else has mentioned is how every song ends in a manner that invites applause, even when that stops the story, or is incongruous with the atmosphere or mood they've tried to create. I'm not against having some big ending numbers, some musical theatre buttons, but equally you have to look at where applause is detrimental to your show, and either score it or direct it so that it doesn't occur there. *Olivier Drum Revolve Appreciation Society Definitely not the drum revolve was my opinion. Looks smaller and nearer the front of the stage.
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Post by Ade on Nov 3, 2018 11:42:30 GMT
Ah glad others had the same thoughts as me. I thought it was a mixed response at the curtain call with so many dashing straight out but perhaps that was the curse of it running 15 minutes over the advertised running time.
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Post by Ade on Nov 2, 2018 22:39:09 GMT
I actually have nothing bad to say about this. Loved the set (simple but very effective), the music is just perfect, and the performances very good too. It’s been a long while since I’ve come out of the Olivier loving a production and I could easily go straight back in and see it again. I’m not sure the praise love was felt by everyone in the audience looking at the curtain call response, but I for one found it pretty spot on.
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Post by Ade on Oct 21, 2018 13:02:39 GMT
What the hell was going on under the stage? Sounded like someone was un-velcroing something for about 20mins at one point. It was so loud yesterday matinee. I get it’s going to be slightly more noisy with it not being a permanent stage, but surely they could have been quieter. That said maybe they aren’t aware if nobody has told them.
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Post by Ade on Oct 20, 2018 19:38:34 GMT
Saw it this afternoon, too. Can't say much before press night, but regarding row A, there is a large space between it and the stage. If you are 5ft 9 or over you will see the floor. Row B isn't raked, but you will see the floor from there if nobody tall is in front. The sides of A are best avoided for the reasons already mentioned (that stage corner between the knees is weird) and you won't see behind the proscenium line either, I feel. Regarding blood there is a lot of graphic talk about amputation, and one cut to the head, plus a shooting that has open wounds revealed. There are also two bare chested characters with blood covered torsos containing graphic long wounds stitched together. . Just to say I was in A26 at the side and found it fine but I feel just being one further along in 27 would have made a big difference because of the proximity to the corner.
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Post by Ade on Oct 20, 2018 15:41:18 GMT
Just seen this at the matinee. I feel like it’s prime matinee material in that I’ve gone, I’ve enjoyed it enough for an and a half, and now I’m heading home without investing an evening in it. Stylistically there’s much to like here. But it’s actually bonkers and barely makes a shred of sense.
Oh and just to add that from my seat on the front row there were definitely a fair few people laughing at the (very simplistic) humour. The laughs were actually nearly as loud as the activity under the stage.
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Post by Ade on Oct 11, 2018 18:15:16 GMT
And who has had months and months to practice and refine - there is no valid comparison at all! Not even months, YEARS!!! I refer you both to the sentence before the one quoted...
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Post by Ade on Oct 11, 2018 17:19:09 GMT
So it’s not terrible but I agree she is struggling in places. I’m sure she will settle into her own interpretation of the song though. But I agree with others, very difficult to compare with Jenn Colella who looks to do it with so much ease.
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Company
Oct 6, 2018 22:44:03 GMT
via mobile
Post by Ade on Oct 6, 2018 22:44:03 GMT
She improved so much by the end. Actually I didn’t mean to say she needs to project rather there were some notes she still needs to work on. Whereas I didn’t quite believe her Marry me a little, her rendition of Being Alive was soft but quite sincere. Listening to that song for the first time it really hit home for me Despite my quibbles a great debut performance that can only get better. Being at the front I could really seee how overwhelmed she was at the curtain call. Well deserved ovation I need to see this production again. Not just to see Rosalie Craig but to really take in this musical. A phenomenal ensemble production and its clear everyone are having a ball performing with one another. Was in stalls A18 tonight and agree with the above. Rather lovely to see so much support for her. And I started to well up a bit too seeing her crying.
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Post by Ade on Oct 3, 2018 11:52:56 GMT
I know this is a musical but as this is a general NT 2019 thread, what happened to The Witches? Did that just get swept under the carpet?
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Post by Ade on Sept 28, 2018 12:27:13 GMT
In stark contrast to yesterday’s experience with All About Eve, I started in position 23 in the queue and went through booking very easily today.
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Post by Ade on Sept 27, 2018 13:08:36 GMT
All seems to be working more smoothly now. Got my tickets for side dress circle in Feb
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Post by Ade on Sept 27, 2018 9:49:34 GMT
So my queue position has just jumped from 1200 to 4209...
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Post by Ade on Sept 27, 2018 9:05:29 GMT
Same here. It’s like an impossible challenge. Starting to wonder if I should see it as a sign that I’m better off waiting for an inevitable rush/lottery down the line.
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Post by Ade on Sept 27, 2018 8:42:27 GMT
Well I’m through the queue and it’s taking forever to load pages to see availability
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Post by Ade on Sept 10, 2018 19:31:44 GMT
Had a really great time at this yesterday. I didn't know much about Shoshana other than her involvement in Wicked but she has an amazing voice, her technique and control and power were really impressive. I didn't know the album she was promoting so can't give detail on what she did and didn't sing but it was a good selection of songs, mostly ranging between big band and jazz. Richard Fleeshman (❤) guested on a duet, as did Rachel Tucker (💚) and also Vula Malinga who I didn't know but had a great voice. The number of famous theatre folk in the audience also made the evening really special - for act 2, I was sitting between Marisha Wallace and Rachel Tucker, who were both quietly singing along in their seats to Shoshana during an acapella section. A highly recommended performer if she ever comes back into town 😀 It was an exceptional evening! I bought a last minute ticket on Saturday and so glad I did. And like you say the number of theatre folk in the audience added something else to it. There were Elphabas, Dreamgirls, Tinas and Drag Queens all over the shop.
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Post by Ade on Sept 8, 2018 16:14:13 GMT
Am guessing Rachel’s performing with Shoshana Bean at the Cadogan Hall concert tomorrow looking at Shoshana’s Instagram stories.
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Post by Ade on Jul 12, 2018 19:23:08 GMT
Flipping heck! It’s like a Now! album cramming that lot in. Interesting to see if there’s much story progression in any of them. Or if it just feels like a two hour show at the Moulin Rouge. Hopefully the former as the movie balanced music and storytelling very well. It is very early days yet, but overwhelming opinion on BWW board is that its style over substance. They wow you with spectacle to try hide the fact that there isn't much to the book and its delivery. I do find it quite ironic that a show that at its core is about bohemian ideals (or at least originally was) has had its integrity compromised by shoehorning in a load of current pop music to make it appeal to the masses. Just made the mistake of reading comments on there. Definitely disappointing. Especially given the production team seem to have got the visuals spot on. The movie has the makings of a great stage musical but looks like they are trying to mess with it too much and put a new stamp on it. Hopefully they learn as it progresses. The big alarm bell for me is messing with Roxanne. That could have been lifted from the movie and stuck on stage and received a standing ovation every night, so if they have messed that up (as comments on BWW suggest) it’s a bad sign for the rest of it.
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Post by Ade on Jul 12, 2018 18:31:03 GMT
Stolen from the BWW message boards: ACT 1 Lady marmalade/ rhythm of the night -Zidler and company Never gonna give u up - Christian Royals/ We Are Young - Christian, Toulouse-Lautrec and company Diamonds are forever/ Diamonds are girls best friend/ Material girl/ Single ladies/ - Satine and company Shut up and dance / Raise your glass - Satine, Christian, Zidler Firework - Satine Your Song - Christian Spectacular Spectacular (completely changed the story, only keep the “so exciting... so delighting ... part) - Christian, Satine, Zidler and Company You Can’t Always Get what You Want / Gimme Shelter- the Duke, Satine Nature Boy - Toulouse-Lautrec, Christian Elephant Love Medley (added Take On Me, Evertime We Touch, Everlasting love, What’s love gotta do with it, ...) - Christian, Satine ACT 2 Bad Romance/ Toxic/ Sweet Dreams - Company Come What May - Christian, Satine Only Girl - the Duke and Company Shake It Out - Zidler, Satine and Company Chandelier - Zidler and Company Roxanne - Christian Crazy/ Rolling in the deep - Christian, Satine Your Song (Reprise) - Satine Come What May (Reprise) - Christian and Company Encore: Lady Marmalade, Hey Ya!, Crazy, Galop Infernal. Flipping heck! It’s like a Now! album cramming that lot in. Interesting to see if there’s much story progression in any of them. Or if it just feels like a two hour show at the Moulin Rouge. Hopefully the former as the movie balanced music and storytelling very well.
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Post by Ade on Jun 29, 2018 10:09:42 GMT
Saw this last night and have to say I largely loved it. I really don’t get the anger towards the lack of a castle - it didn’t feel like it needed it at all. The designs throughout are great - it has that really dynamic, constantly moving feel to it; and blends projection and physical set really well. Caissie Levy sings the hell out of those songs - yes it’s not the most amazing performance but she was absolutely note perfect. Patti very strong and, as in the film, is ultimately the lead here. As others have mentioned it, I didn’t mind the opening to act two, but the two young girls in front of me had incredibly sour faces and didn’t really know where to look.
Ultimately I’m very glad I saw this over here! And as said above this is vastly superior to Aladdin. I didn’t see BatB so can’t compare to that, but I’d also say it beats Lion King for me too.
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Post by Ade on Jun 23, 2018 9:27:25 GMT
Saw this last night and while I didn’t think it’s the best thing I’ve ever seen, it’s really quite beautifully done in places. Think I was helped by being dead centre of row D (I was a TodayTix booker for those unsure about where they might be sitting) so was upclose and in eye line of the actors. Won’t give anything away but Jenna Russell’s solo was particularly emotional, as was the car ride near the end.
And yes, as others have said the set comes to life at one point!
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Post by Ade on Jun 12, 2018 7:56:03 GMT
What is the front Stalls usually priced at? Because I've just gone to look on the website and since the show announced closure, the final night's front Stalls are completely sold out so fand are clearly splashing the cash to be there! You sure they haven’t just put them on reserve for some reason? Given that there are still plenty elsewhere in the theatre at all different prices that seems more likely to me than them instantly getting sold.
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