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Post by theatremadness on Jul 16, 2017 14:59:07 GMT
Yes, certainly won't go down in the history books this year. A few very entertaining matches, though, specifically Nadal v Muller for my money!
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Post by theatremadness on Jul 16, 2017 14:43:07 GMT
I think the only sore spots were on his feet.
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Post by theatremadness on Jul 16, 2017 14:31:44 GMT
Then I'd hate to see what your definition of bad feet is!!!
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Post by theatremadness on Jul 16, 2017 14:18:41 GMT
Cilic calls a medical timeout.....needs a Doctor.....David Tennant is at Wimbledon.....IT'S ALL STARTING TO MAKE SENSE.
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Post by theatremadness on Jul 16, 2017 14:06:26 GMT
He's having a bit of mare out there isn't he. I do feel very sorry for him but he's in danger of letting it get the better of him, which is the way it seems to be going at the moment. But who knows, there's a way to go yet...but maybe we'll be finding out the new Doctor sooner than expected!!
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Post by theatremadness on Jul 15, 2017 17:40:17 GMT
Saw the matinee this afternoon and absolutely bloody LOVED it in a way that I really had no idea that I would, as did my friend who I went with. Both of us left the theatre quite speechless at the impact that 1hr 45 had on us. Just flew by and I was sad to see it end. Brilliant choices of music to set the background of these girls' lives played by an equally brilliant group of ladies but those 6 central performances are breathtaking. What insanely talented young ladies they were - I was completely drawn in by each and every one of them and I was gladly taken on a non-stop roller coaster of emotions from beginning to end as I just sat back and let the play engulf me. Their acting as a group was sensational, as was their more solo moments. Fantastic characterisation of all the multitude of characters they each played and whilst the explicit level of language and conversation can sometimes be hard to sit through, I believe there were some really outstanding episodic moments that had quite a lot to say for themselves far beyond just the words they were saying. A lot of the humour was definitely my sense of humour, the foul language is definitely no cause of offence to me and the audience response was fantastic, with a partial standing ovation at the end.
I completely understand comparisons to Spring Awaking with their microphones and stands and a group of young individuals finding out about life and love, about what they do know, what they don't know and what they wish they had been taught. Coming to terms with themselves, figuring out who they are, what they are and making no apologies for it. A real part of society presented with no judgement, unless you choose to do so. But these girls' lives are shaped by more than what you see on stage and to judge them by what is presented purely in that 1hr 45mins does them a severe injustice. You can 'blame' the girls themselves for behaving as they do if you want, but to me that seems to me like a very lazy get-out clause for not liking what you see and hear. There are reasons behind everything, that can be deciphered in many different ways if you so wish. Some of these girls are clearly very troubled and would be done some justice not to be dismissed by society but helped, if it were possible. How I don't know, but to me, that would be more conducive than dismissing them entirely.
I sometimes get bored with the very over-used directorial device of "less is more" - an almost bare stage, lots of miming, using every day objects to create scenes/sets/props etc, but these ladies absolutely made it work. A real fantastic piece of storytelling that I am so happy to have caught. Hugely recommended - but NOT for the faint-hearted!
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Post by theatremadness on Jul 15, 2017 10:02:44 GMT
ali - I can tell you the 4 times I saw this live in NY there was absolutely no pre-recorded versions... Honestly I don't know who was peddling that, but there's plenty of stories of how Glenn's voice cracked or she re-did hitting a high note when she cracked singing As If We Never Said Goodbye. I'm hoping that if they do remount this in Australia and film it that they would auto-tune-correct or whatever it is they call it to clean up the vocals. To be fair, I kind of like it when her voice cracks or fails, it could be interpreted as a reflection of the cracking of Norma, how on the edge she it. I think if Norma was real and singing that song in that situation she would be so overridden with emotion that her voice would break. I like that way of thinking, but all in my personal opinion, I don't 100% buy it, and I doubt most of the audience would, too. You might be able to disguise cracking in a song as a character choice if A) Ms Close was doing it on purpose (and even though we've never sat down and had a chat about it, I'm almost certain she wasn't) or B) if what she was singing was diegetic to the musical. For example, when Sally Bowles sings Maybe This Time or Mein Herr etc in Cabaret, the character isn't breaking out into song, the song is part of the actual story, it's taking place in the Club and originates from inside the world of the story. So you could argue the actor really is singing as if Sally Bowles was singing, whatever their choices may be. But, there are no no such songs in Sunset Boulevard where Norma sings "as Norma" - although I do recognise that that you did say "if Norma was real and singing...etc"! They're all non-diegetic, coming from outside of the world of the story that are not implied to actually be a part of the action, but, as we all know, a heightened sense of reality and feeling where speaking the words is not enough to convey the emotion of what is being said, so they need to be sung, and they should be sung with no blemishes, wherever possible, for full effect! This is where I though Ms Close was amazing - her acting was sensational and really brought that sense of heightened emotion, but when you hear a crack, as she did when I saw it in London 4 days before she took some time off, you momentarily crash-land out of that emotion, as it has been broken. But then after a couple of seconds, you smile as you remember everyone is human, and you carry on enjoying every moment. I know it's a discussion that has reared its ugly head a billion times and I've probably contradicted myself the same amount, but I've nothing better to do on a Saturday morning so leave me alone!
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Post by theatremadness on Jul 14, 2017 20:07:57 GMT
Exactly as Emi said, a pretty impossible task to have kept the news quiet until Christmas, so I'm happy that they're announcing it themselves rather than finding out through a leak. And nice they're making a big deal out of it - sure not as big a deal as a reveal show with Peter Capaldi (even though I think we all knew it was him, and Rufus Hound let it inadvertently slip by mentioning 'Peter' whilst he was being interviewed) but nice to have some build up anyhow. And not long to wait!! If it turns out to be Kris Marshall, fine. I'll be disappointed, only because it'll be someone already bandied about, not someone completely out of the blue, but I actually think he'd make a pretty good go of it and I like him a lot as an actor.
I'm very much in a "not fussed" camp though - it'd be cool for it to be someone completely left field, but I'm gonna watch it whoever they cast, even if it's Freddie Flintoff.
As for the last series, I thought it was fine. For me, personally, I don't think it's ever been as good as the David Tennant years and I doubt it will be again. I was prime child age for Doctor Who during the DT years and for me, that's been the pinnacle of the revival years so far. Having said that, I think Pearl Mackie was sensational this series, and I enjoyed Matt Lucas a lot, though I know many were annoyed by him.
However, the Capaldi years have had their moments, most notably for me, his practically one-man episode (Heaven Sent, was it?) which was a real masterclass. I did like Capaldi's Doctor, the closest to the post-revival Doctors we've had so far, and I am SO excited fo the Christmas special to see him play against David Bradley's 1st Doctor!
I think Steven Moffat should be applauded for his contribution to the series but it's definitely his time to go. I sometimes wished he'd put the same level of class into Who as he would put into Sherlock as Who sometimes became far too convoluted for its own good, but I can't say I didn't enjoy it.
Anyway, excited for a completely fresh 'start' to Who and seeing what this new era brings! Bring on Sunday!!!
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Post by theatremadness on Jul 13, 2017 22:52:21 GMT
Looks like it! Glad as it's on my list but doubt I'll make it to the Almeida.
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Post by theatremadness on Jul 13, 2017 22:46:29 GMT
Or...
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Post by theatremadness on Jul 13, 2017 22:41:09 GMT
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Post by theatremadness on Jul 13, 2017 22:40:08 GMT
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Post by theatremadness on Jul 13, 2017 20:41:23 GMT
I think the opening number of Legally Blonde has a lot to answer for, especially as it's comprised practically solely of women!!
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Post by theatremadness on Jul 13, 2017 18:05:23 GMT
Not sure, but I don't think so - I'm pretty sure this donation thing for Follies has been a thing even a while before those opened, it's definitely news but not "new" news. I don't particularly think they're in trouble, I think it's that Follies is an incredibly ambitious undertaking for the National, with it being one of the biggest productions they've ever done (actual words from the NT website: "The production is set to be one of our biggest; a cast of 37, 21 live musicians, huge choreographed numbers and over 200 staff and apprentices working to create this spectacular production. Creating a musical of this magnitude is a significant undertaking and your support is crucial to ensure the play is successfully brought to the stage. We would love you to help us make this happen.") and especially with it being a musical, costs are bound to be higher than the National would probably be normally used to. I don't think it means that they're moments away from cancelling the show and shutting down the theatre, but that if anyone is able to donate, as I'm sure a sizable chunk of the National Theatre demographic are more than willing and able to do, then they'd gratefully receive it. They're being quite transparent and definitely not trying to hide it, so I'd say nothing to worry about.....just yet.
EDIT: Just checked, and it seems the first mention of asking for donations was middle of April, so around 3 months ago.
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Post by theatremadness on Jul 13, 2017 17:32:21 GMT
Gooooood grief. If I complain that I'm offended by this, can they go back to the way it was?
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Post by theatremadness on Jul 13, 2017 13:23:17 GMT
Very excited for Konta.....do we think it's a forgone conclusion against Williams? I like to hope not, but I also like to be realistic!! She'll put up one hell of a fight though...go Konta!!
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Post by theatremadness on Jul 13, 2017 9:24:58 GMT
Well that was a relatively stress-free Entry Pass booking! Lowest number in queue on all browsers I was on was 545, got through in just under 20 minutes, managed to grab a 2nd preview ticket. Very excited....Bryan Cranston for goodness sake!! Row D in stalls, if I can survive almost 8 hours at the front, I can do a normal-length play! Also hoping for some relatively average height audience members please and thanks. Lots of availability for later in the run and availability for Pinocchio, too, though I decided not to bother with that just yet. They still have a problem with multiple dates showing "limited availability" when really it's sold out, giving you a false sense of hope!! And it may help streamline the queues, but this extra queue on the actual date selection page is a really, really crap idea. Precious seconds wasted in more pointless queues and all the tickets have still gone when you get through to it!
But all in all, no real complaints from me, got my ticket for early in the run which is exactly what I wanted, so I'm a happy bunny!
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Post by theatremadness on Jul 12, 2017 18:52:32 GMT
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Post by theatremadness on Jul 12, 2017 16:11:15 GMT
Aw. Dames Maggie and Ian McK in the audience. Together... People will talk!!
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Post by theatremadness on Jul 12, 2017 16:04:18 GMT
Oh absolutely. She definitely should always be allowed and should continue to use her platform and voice, I just wish sometimes her choices or intentions were a little better. Which is all completely my problem, not hers, hence my unfollowing her. But yeah, she shouldn't be silenced, or something else that doesn't sound like I just said something straight out of a 1950's gangster movie.
(Oh, and Wiki tells me that Cynthia played Madeleine in Umbrellas. She looked after Guy's aunt and is secretly in love with him, according to the film's plot!)
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Post by theatremadness on Jul 12, 2017 15:28:23 GMT
Ah that was sad. Andy really put up no fight towards the end of that match, and he looked in a lot of pain. No excuse, really, he could've called a medical I guess but he's had a problem for a while now and it had to give eventually! Come on Jo Konta!!!
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Post by theatremadness on Jul 12, 2017 15:16:25 GMT
I unfollowed her ages ago, but saw her little exchange about this. I just absolutely detest the way she speaks to her fans. She comes across that she sees herself so far above everyone, that she's going God's work here for us mere mortals on Earth and it feels as if she has absolutely no gratitude and that the world owes her everything as she's giving us her talent. I've never been a Cynthia "superfan" but I've seen her in a multitude of shows, including one of her first, Umbrellas of Cherbourg, and of course I was very impressed, but now I actually feel like I want to actively avoid productions she's in from now on. Her success her certainly gone very much to her head, and there really is no excuse for it as her fame is rather mild, but I think someone in her "team" needs to have a word. I wonder what she's like to work with.
I admit that I'm sure it all probably stems from a place of real struggle, but I just feel like she shouts "racist" and "sexist" as quickly as she can so her followers can pounce. I feel it dilutes her sometimes valid points because she treats those who send abuse the same as those who send her compliments, but then the compliments don't meet her own self-inflated opinions of herself. It means I look and go "oh here she goes again", when she could be totally in the right, but her aggressiveness towards *anyone* who doesn't completely and utterly pander to her ego - and even those who do - a kid put her in his dream cast for crying out loud! - means I stop listening to her completely because it becomes very tedious after a while. I mean, like she cares, but her social media presence just really, *really* grinds my gears.
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Post by theatremadness on Jul 12, 2017 8:50:29 GMT
That's what was semi-done for Daniel Radcliffe in R&G Are Dead at the Old Vic. Wasn't a "sit at a table a sign" situ, but it was a meet and greet in the foyer, separate from the stage door. No extra cost, just had to show your ticket to prove you did actually see the show.
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Post by theatremadness on Jul 10, 2017 19:40:05 GMT
Wow.....what extraordinary tennis!!!!
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Post by theatremadness on Jul 10, 2017 17:37:42 GMT
How much of it will need to be recast, I wonder?
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Post by theatremadness on Jul 10, 2017 17:28:11 GMT
Another good game for Murray, I think Paire showing his frustration rubbed off on Murray as he started doing it, too! No surprise, Paire played some incredible shots, though many backfired and Murray gave as good as he got. The match certainly was not as easy as the score looks like it should've been!
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Post by theatremadness on Jul 8, 2017 22:48:03 GMT
OK, I'm sorry (well I'm not sorry at all actually) but this musical is incredible. It's heart-warming and it's life affirming and you'll cry and you'll laugh - and that's all in Act 1 alone! Act 2 was quite long but was actually filled with quite a lot of story. A frankly hilarious and touching book - often such a big leg down in a musical - that induced proper belly laughs and was also quite emotion. Saccharine yes, I guess, but I thought it suited the tone of the piece and I guess I was just well up for it. The whole cast were great but the 6 leading ladies really do give wonderful performances - each and every one their own individual woman, and you do end up caring for them all. Claire Moore's Act 1 closing number was just awesome and Joanna Riding's 11 o'clock number was just breathtaking. Those ladies all have a cracking set of pipes on them, a joy to listen to!
As I mentioned earlier, I also really enjoy the score. I thought it was catchy, it was uplifting and orchestrated very well. And to top it off, a nice set of lyrics to go with them! I actually quite liked the design - it was really was a "simple but effective" job with some good lighting to finish it off nicely. The photo scene was one of the best I've ever seen, my god I can't remember the last time I had so much fun in a theatre!!
The audience went absolutely wild for it. Dress must've been half to 3/4 empty, but the laughter and applause sounded like it was packed. I'm sure the running time of the show tonight was longer due to raucous laughter and copious amounts of applause during scenes/after especially good one-lines. Yes it was made up of a certain demographic who may have had a couple of drinks, but no one was being at all disorderly or disruptive, it all stemmed from appreciation for the show and they obviously identified with a lot of it - and good for them! Gosh this show has just put me in the best mood and I'm so glad I managed to catch it, and just in time to see some before they leave! I know it's divided people on here, but I have to say that if you can fit this in next week in its final week, I hugely recommend getting a ticket!
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Post by theatremadness on Jul 8, 2017 19:42:37 GMT
Interval - but gosh this show is just beautiful. Act 1 alone brought tears of laughter and sadness. Design is great, acting is great, singing is great, book is great and receiving huge laughs from a crowd that is much smaller than this show deserves! And I'm loving the score - only familiar with the opening number and 'Dare' which is to come, but I don't find it bland or generic, I'm actually finding it quite interesting to listen to and for a writer of pop, it's actually far less bland than Wind in the Willows, by an accomplished MT duo. Just my two cents!
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Post by theatremadness on Jul 8, 2017 18:23:46 GMT
Well it worked! 6.30pm, bought a £25 Upper Circle Row G ticket and as I was on my own, upgraded to Dress Circle Row F before the guy even handed me my ticket! And it seems all the Girls are actually on, too, which seems nothing short of a miracle with this show...so I'm actually quite excited!
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Post by theatremadness on Jul 8, 2017 13:40:29 GMT
Think I might try my luck at turning up at the B.O. tonight before the show and see if they have anything going cheap at the last minute for a lowly, single theatre-goer! I think I'll regret it if I don't see it, so better late than never!
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