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Post by SageStageMgr on Sept 22, 2017 15:54:48 GMT
M and S style suspenders! Yes! Take my money!
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Post by SageStageMgr on Sept 22, 2017 15:49:52 GMT
LOVED reading that. It's refreshing to see someone bringing up the exact points I'm interested in when they've seen a show. "Partly because it was so well sung, but also just a little bit of nuance can go a long way in this show. It is a tiny thing, but a tiny variation in the blocking, a change of tone of expression of face and voice, and a scene takes a whole different meaning." I completely agree, I wish more directors would realize this (for example the les mis movie or the Miss saigon 25th dvd, which both could have benefited immensely from this knowledge). It's like most directors don't even pay attention to this anymore. I'm glad that the Phantom director clearly does. A slight change of tone can indeed make the scene take a whole different meaning. It's the essence of this artform, there is a reason they sing notes. "Christine is a lot happier than usual; she actually laughs and smiles. It's much easier to see her as more of a real person, rather than the doe-eyed, slightly simple waif she so often reads as." I like this, kind of makes me want to see her. "Cast wise, Ben Lewis played the Phantom very straight. A lot straighter than Forster or Jöback anyway (*ducks*). He has a very deep, booming voice which sounds perfectly suited for Javert (has he ever done it?). Unusually, he is at his best when belting out the hardest parts of the show. "Down Once More", his "It's over now, the music of the night", the hard top notes in "Music of the Night" all powerfully and flawlessly executed. Where he falls down a bit for me is in his light and shade. He's very boomy and bassy, which is awesome in the "Mirror", but not so much at other times. He really, really struggled with the final note of "Music of the Night", he went flat, then clipped the note off very early, which was a bit awkward as the orchestra didn't speed up and he was left looking a bit of a wally waiting for the lights to dim. It was like when the newsreader or weatherperson finishes their bit and waits for the camera to cut away, so they hold an awkward stare/smile." That's really interesting, it's the exact same thing I noticed when watching the Love Never Dies dvd. Great in the powerful parts. Missing a bit of light and shade. I always feel this artform is all about "painting with nuances", therefore John Owen Jones is my favorite Phantom. And Ramin Karimloo is one of my least favorites. The softer and more seductive Phantom parts should be like velvet, nuanced, well controlled, soft and seductive. I'm also glad that the Phantom feels straight again. "But wow, Kelly Mathieson!!! Brilliant Christine. What a voice! I wasn't sure about her acting in early scenes, it was a bit cringey in "Little Lotte" I remember, but she really does grow as the show goes on and by the end I was genuinely enjoying some of her acting choices. Is she Scottish? She has a bit of a weird accent going on. She's a lot more real than many Christines I've seen. "Wishing You Were Somehow Here Again" was a bit of a mess and there were a few scenes I had hopes for which disappointed a little, like "Twisted Every Way". She belts - and she shouldn't - ever. She's not a belter. She's a coloratura soprano - legitimately. When she sings to her strengths, she's one of the best I've seen. When not, she's an off the trolley triple threat plain Jane. Her "Think of Me" was stunning and she smashed the all-important (to some) cadenza out of the park. Wow!!!" Mmm, I'm glad you like her so much. But reading your previous Christine preferences I figured she would be right up your alley. I can imagine she needs to stick to her strengths. I know many soprano's who become plain Janes when singing in their chest voice. Let us know when you have seen the show a bit later in their run too. Would love to hear what you think then. Thanks! I'll make a point of seeing the alternate too. Seeing a flat show personally puts me off until a cast change, but when it's this good I just want to see it again and again. I LOVE JOJ, what a voice! My personal favourites have been Howard McGillin and Preben Kristensen in Copenhagen, two very different portrayals but both equally powerful. McGillin is very close to JOJ but more singing and less acting. I'm Noticing a pattern here! JOJ was amazing vocally, but I've always adored his JvJ which is definitive in my eyes. Speaking a fan, honestly the show right now in my opinion is the best in about 15 years.
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Post by SageStageMgr on Sept 22, 2017 15:37:54 GMT
I think we have some great regional theatre productions. I live in Yorkshire and I consider myself to be really lucky that I can travel to Sheffield or Leeds and see fantastic productions produced in house, some of which do even make it to the West End I used to review everything at the Hull Truck and Bolton Octagon, brilliant rep venues! The Octagon in particular under David Thacker did some amazing work.
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Post by SageStageMgr on Sept 21, 2017 22:58:59 GMT
But you have to admit it looks crap in the pictures though. The pictures used to promote the show. Taken and released with their consent. Maybe they should remove them?
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Company
Sept 21, 2017 22:54:40 GMT
via mobile
Post by SageStageMgr on Sept 21, 2017 22:54:40 GMT
I love Raul Esparza's Bobby, *despite* the cast recording he's on.l
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Company
Sept 21, 2017 22:49:31 GMT
via mobile
sf likes this
Post by SageStageMgr on Sept 21, 2017 22:49:31 GMT
Uuusinnesssnevahettahusinonlypussy-haaasantooooas
- Sweeney Todd in Concert
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Post by SageStageMgr on Sept 21, 2017 22:43:41 GMT
As I say I loved Idina in Wicked, such star power, something a little different vocally (love or hate, she's unique!), but can't stand only listening to her.
All this discussion FORCED me to see the new cast tonight. Overall, very impressed.
The show looked really stale last time I went, I actually left before the end to get an earlier train, as I could tell things weren't going to get any better. I was engaged throughout tonight, however.
Got a cheap last minute (7:29pm) seat from the box office (£23 in the upper circle, excellent value) and my view was great most of the time, except Masquerade and a few fairly inconsequential downstage left moments. G2, Monkey, if you're reading!
Changes:
A surprising number actually, nothing earth shattering, but just a few new directions and changes of emphasis/meaning of scenes. A slight change here, a sight gag there, just a general freshening up that the show has needed for a while. Most notable was "All I Ask of You", which is the one song in the show which I usually mentally tune out for. But tonight it was really excellent. The cast (discussed below) had excellent chemistry together and there were some lovely touches. It actually felt genuine in emotion, not a genetic, melodramatic heightened love song as I usually find it to be. Partly because it was so well sung, but also just a little bit of nuance can go a long way in this show. It is a tiny thing, but a tiny variation in the blocking, a change of tone of expression of face and voice, and a scene takes a whole different meaning. It was the highlight of the show, something I never thought I'd say.
Christine is a lot happier than usual; she actually laughs and smiles. It's much easier to see her as more of a real person, rather than the doe-eyed, slightly simple waif she so often reads as. Raoul is stoic and masculine; a sort of posh action man. It works, despite my description. BUT he doesn't jump into the lake (trapdoor), he just runs off to the side. I'll try and find out why this is.
Cast wise, Ben Lewis played the Phantom very straight. A lot straighter than Forster or Jöback anyway (*ducks*). He has a very deep, booming voice which sounds perfectly suited for Javert (has he ever done it?). Unusually, he is at his best when belting out the hardest parts of the show. "Down Once More", his "It's over now, the music of the night", the hard top notes in "Music of the Night" all powerfully and flawlessly executed. Where he falls down a bit for me is in his light and shade. He's very boomy and bassy, which is awesome in the "Mirror", but not so much at other times. He really, really struggled with the final note of "Music of the Night", he went flat, then clipped the note off very early, which was a bit awkward as the orchestra didn't speed up and he was left looking a bit of a wally waiting for the lights to dim. It was like when the newsreader or weatherperson finishes their bit and waits for the camera to cut away, so they hold an awkward stare/smile.
I did definitely enjoy him - and far more so than recent Phantoms, who have been frankly quite poor. His acting was quite safe - he likes to sing everything, "damn you, curse you", "why should I make her pay, for the sins which are yours" etc. He's pretty much following the score tightly the entire show. He has an annoying tendency to sing "mew-seek". A word he sings a lot. I have a strong feeling later in his run he'll be far more "into" the character and scenes like his Final Lair will feel more powerful.
But wow, Kelly Mathieson!!! Brilliant Christine. What a voice! I wasn't sure about her acting in early scenes, it was a bit cringey in "Little Lotte" I remember, but she really does grow as the show goes on and by the end I was genuinely enjoying some of her acting choices. Is she Scottish? She has a bit of a weird accent going on. She's a lot more real than many Christines I've seen. "Wishing You Were Somehow Here Again" was a bit of a mess and there were a few scenes I had hopes for which disappointed a little, like "Twisted Every Way". She belts - and she shouldn't - ever. She's not a belter. She's a coloratura soprano - legitimately. When she sings to her strengths, she's one of the best I've seen. When not, she's an off the trolley triple threat plain Jane. Her "Think of Me" was stunning and she smashed the all-important (to some) cadenza out of the park. Wow!!!
She shared a wonderful on stage chemistry with Jeremy Taylor as Raoul who I also really liked. He reminded me of Ramin in the role, which is a good thing. Acting very strong. Singing of the belt everything variety, but done very well. I freely admit I loathed him in Wicked when I saw him play Fiyero. He looked bored out of his mind in that, in what was a very poor performance to a small audience on the day. He was like a different person in this. Very foppish, super posh Raoul but plays the part with integrity and respect. He clearly cares for Christine. Very good indeed.
Elsewhere, Lara Martins is still going strong as Carlotta. I don't have a brochure (and I don't buy programmes) because the new cast haven't been photoshopped into them yet, so sorry for not having the names handy.
They were all fine, nothing to say. Thankless roles really!
I'll definitely be revisiting this cast, maybe early next year, to see them again. Very good, just lacked that final emotional punch to prevent that being a perfect performance. Lots of fun all the same.
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Post by SageStageMgr on Sept 21, 2017 22:00:43 GMT
Classic Bad Behaviour in a phone going off at Our Town at the Royal Exchange however I did have to suppress a laugh- from above I could see the people in the row it was in realise it was them, and look around for the culprit, this went on a while until it emerged the phone owner was sound asleep! A swift poke just as it rung off didn't really help. It's obviously still an unnecessary disruption both to the actors and that lady's afternoon nap it seems! Also several walk-outs this afternoon, at least the lady next to me who declared as soon as the lights went up "No I don't like it" had the decency to wait until the interval before buggering off....unlike 4 separate people who spent a great deal of time gathering shopping bags before sauntering off mid Act 2 ... Don't blame show leavers. As long as they do it quietly and apologetically, not as a big "look at me, I'm leaving" moment.
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Post by SageStageMgr on Sept 21, 2017 21:59:11 GMT
Audible gasps of shock tonight from more than one (adult) person tonight at The Phantom of the Opera, when the Phantom is "revealed" to be impersonating Piangi at the end of "Point of No Return".
The fact that he'd lost at least five stone, grown 6 inches in height and sounded nothing like the actor playing Piangi obviously flew past their heads.
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Post by SageStageMgr on Sept 21, 2017 21:56:16 GMT
Ah, the false heads. Reminds me of a visit to Les Mis, when a man me behind asked, "I wonder where they will put the guillotine?! That's wittier more than stupid - bloody good points. Most of the survivors would've been put in front of a kangaroo court and guillotined, the rest imprisoned for life for treason.
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Post by SageStageMgr on Sept 21, 2017 21:54:34 GMT
Back in the 1960s, I was at the Salzburg Summer Festival in the lobby of the Grosses Festspielhaus surrounded by huge posters and display boards announcing: "GEORGE BALANCHINE'S New York City Ballet" waiting in the small queue at the box office when the very dapper-looking man ahead of me said to the woman an duty: 'I'd like to leave some tickets for tonight to be collected by some friends.' 'Yes' said the box-office lady. 'What is your name?' 'Balanchine' said the dapper man. 'Could you spell that please?' 'B A L A N C H I N E' he said wearily. I suppose had he been Herbert von Karajan she might have known who he was. "Yes... my name is J R Hartley..."
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Post by SageStageMgr on Sept 21, 2017 21:53:29 GMT
Danton's Death at the NT, whenever that was. Near the end there's a series of guillotinings. As the 3rd or 4th head toppled into the basket, a man behind us leaned in to his companion and stage-whispered knowledgeably, "False heads." I'm sure his companion was as relieved as we were. "False heads!" Haha. That's the one that got me giggling too. I can just see the guy now - the penny drops, he realises and instantly says it, thinking he's spotted something special. The problem is with people like that, is that they move straight onto the next "announcement" and never think about what they've actually just said!
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Post by SageStageMgr on Sept 21, 2017 16:41:19 GMT
The CRH show did it all with lights, and it was effective.
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Post by SageStageMgr on Sept 21, 2017 16:35:22 GMT
I dont understand the dodgem car look. Surely it would have been more effective and cheaper to just have the front view of the car so we see Joe behind the windscreen at the steering wheel. I just don't get the *vision* behind it. Like, what is meant to be - or represent? It is a fairly literal moment. There's nothing abstract or metaphorical about it which requires him to be a bumper car. It just looks stupid and needs to be changed, because people will make fun of it and laugh. Going off on a tangeant, as I always do, it reminds me of The Unbrellas of Cherbourg at the Curve. There were SO many hilariously bad moments, but they all (eventually) got changed before London. The giant white knickers Guy holds up triumphantly after scoring with Genivieve, the awkward snogging on a perilous slide... I mean, the rest of it was still terrible but they got rid of the bits with the unintentional laughter. Surely every show report right now will read "laughter from audience in car scene". Then the director reads it. And changes it. Even if it means asking the producer for a bit more money...
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Post by SageStageMgr on Sept 21, 2017 16:28:30 GMT
Now to address this far too Phan-ish thread again ;-) Emmy Rossum doesn't and shouldn't count... She would be hands down the worst Christine ever, but the movie was and has been basically disowned by everyone. It's not canon I listed on a previous page all the Phantoms I've seen live in person - I don't count bootlegs and stuff as you never really get a "feel" for a show - as wonderful as the recording may be - it's not like being there. Stage presence counts for loads. Many performers I've seen live have been incredible, because of their acting and charisma - listening to recordings of them I often think "this sounds terrible". Off the top of my head, Phantom wise I loved Gina Beck, but listening to her afterwards she sounds shrill and awful at points. On stage she was terrific. Same with Idina in Wicked, Elena Roger in Evita - it happens a lot with "names". I guess what I'm saying is recordings - even official cast ones - usually either flatter or deceive! Some people don't capture well but are amazing live, others are note perfect to listen to but boring to watch.
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Post by SageStageMgr on Sept 21, 2017 16:14:27 GMT
Got round to looking up these rehearsal snaps.
It looks cheap.
I laughed out loud at Joe driving a dodgem, with a blurry projection behind him.
BUT Danny Mac certainly looks the part, if nothing else. I can see why he was cast.
Why is Ria Jones mugging for the camera, does she do this much "acting" in the show?
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Post by SageStageMgr on Sept 21, 2017 11:30:13 GMT
I haven't seen this cast yet and am avoiding spoilers by listening to clips etc, but I precisely feel the exact opposite to you in terms of opinion. I much prefer the better trained, more classical sounding Christines. It's a joy to hear the score sung properly, how Lloyd Webber intended. All of the early Christines were proper singers - Sarah Brightman, Claire Moore, Rebecca Caine. This trend followed right through the 90's and early 00's, brilliant singers like Myrra Malmberg, Lisa Hull, Deborah Dutcher to name just a few. The current fad in theatre, and has been for a decade or more, is for younger, prettier people to get certain roles regardless of technical ability. Style over substance. Drama school leavers are cheaper, for one thing. The best Christine I've ever seen live was Elizabeth Loyacano on Broadway, who definitely falls within "those 40 year old Christines from a few years back". Compared to, say, Robyn North or Leila Benn Harris, she is Maria Callas. As for the Broadway cadenza, do you mean the end of "Think of Me"? Having been involved in the rehearsal process for this show, I can tell you that this is the choice of the MD, who works with the singer to find which version is most appropriate. I've heard the "Broadway" version done numerous times by many Christine's in the West End and not always by the best singers. Also, it is approximately 15 seconds out of a two hour show. Thanks for your reply! I think the role of Christine is hard to cast and both examples you mention are wrong. The sweet young untrained girl (Emmy Rossum) completely ruins the part but also the too mature, almost "housewife" sounding at times Christines ruin the part (Sandra Joseph, Rebecca Pitcher, Elizabeth Loyacano, etc). I feel that Kelly Mathieson has this housewife quality at times. Almost overly trained. I feel that a christine needs to have an aura that reads reasonably young and innocent, but needs to have a strong, very clear, but trained voice. I know what is right when I hear it. It's funny that you mention Maria Callas, because I really don't like her either, she sounds like a drag queen at times, as if her head voice can flip to her chest voice at any time, too forced and affected. I call that walrus soprano's. Now Carlotta can be a walrus soprano but Christine really can't. I much prefer cleaner soprano's, with a clearer, sharper tone. Less hollow or housewife, more clear, bell-like. For example Deanna Durbin. And there are even Walrus soprano's with this clear sound, such as Cristina Deutekom. As for Christine, the best example of a good Christine voice in my opinion is Joke de Kruijf. She sounds young, clear, strong and wonderful. Here she sings as Cinderella: So this is love: And here she plays the role of Christine in Phantom: I also really like Kaley Ann Voorhees, currently on Broadway. It's good to talk to someone who clearly shares a passion for the show and has the knowledge and erudition to back up their opinion. Even though I disagree with some of your points, it's great fun to actually discuss and share thoughts. Which both examples of mine are wrong? I made a lot of points and not sure which two you particularly disagreed with!
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Post by SageStageMgr on Sept 21, 2017 9:19:49 GMT
Is Betty hot? Need to balance out the objectifying here with some classic hetero chauvinism.
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Post by SageStageMgr on Sept 21, 2017 7:39:00 GMT
So I just saw that they have added dates - so I guess that ends the speculation that the tour is ending early (which would be really odd since it hasn't even opened yet) But - what was strange to me - they have the tour playing in London in April, for a week? Can that be right? I mean - if they're going to do a stop over in London, wouldn't that kind of demand at least a three or four week run Where in London? Result!
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Post by SageStageMgr on Sept 21, 2017 0:48:54 GMT
I'm not sure if I like Kelly Mathieson. I don't think she looks like a Christine. I also think she sounds too mature for the role/too trained/not innocent or sweet enough. At times she sounds like one of those 40 year old Broadway Christines from a few years back. I also don't like that she sings the Broadway cadenza. The one they normally do in London has much more charm I think. When I visit the show I would love to see Amy Manford. I haven't seen this cast yet and am avoiding spoilers by listening to clips etc, but I precisely feel the exact opposite to you in terms of opinion. I much prefer the better trained, more classical sounding Christines. It's a joy to hear the score sung properly, how Lloyd Webber intended. All of the early Christines were proper singers - Sarah Brightman, Claire Moore, Rebecca Caine. This trend followed right through the 90's and early 00's, brilliant singers like Myrra Malmberg, Lisa Hull, Deborah Dutcher to name just a few. The current fad in theatre, and has been for a decade or more, is for younger, prettier people to get certain roles regardless of technical ability. Style over substance. Drama school leavers are cheaper, for one thing. The early Phantoms, for instance, were all older guys to try and emulate the older Father figure dynamic of the story. Compare Dave Willetts or Simon Bowman to, say, Peter Jöback or Ben Forster. Sometimes this dissonance in casting policy extends to the *same cast* - take Scott Davies' presence for example. The idea of Christine being "sweet" as a priority now is one built on societal ideals rather than theatrical credibility. Taste gets shaped based on experience. The best Christine I've ever seen live was Elizabeth Loyacano on Broadway, who definitely falls within "those 40 year old Christines from a few years back". Compared to, say, Robyn North or Leila Benn Harris, she is Maria Callas. As for the Broadway cadenza, do you mean the end of "Think of Me"? Having been involved in the rehearsal process for this show, I can tell you that this is the choice of the MD, who works with the singer to find which version is most appropriate. I've heard the "Broadway" version done numerous times by many Christine's in the West End and not always by the best singers. Also, it is approximately 15 seconds out of a two hour show.
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Spamalot
Sept 20, 2017 11:25:04 GMT
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Post by SageStageMgr on Sept 20, 2017 11:25:04 GMT
Well that front curtain looks pretty cheap so not a great start The logos, set designs, and basically everything - is available to amateur dramatics companies. You basically get a bunch of AV, sound clips etc as part of the show rights. So yes, it looks cheap and amateurish because most of the time it *is*
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Post by SageStageMgr on Sept 20, 2017 11:21:07 GMT
Is Danny Mac famous then? I've literally never heard of him except posts on here. He's more famous now after his exploits in coming second on Strictly Come Dancing last year (over 2 million Youtube views for his Samba alone) than he was before - I think he was just known as a soap actor before that? Ah right, I don't watch any talent shows but I've seen and loved people in shows I've never heard of, who are famous from being in them... so I'll keep an open mind.
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Post by SageStageMgr on Sept 20, 2017 11:19:53 GMT
Earl Carpenter did a podcast a few years back (he was Joe in the 2001 tour)... let's just say Faith Brown wasn't adored by her colleagues. She was meant to be great at being a washed up has-been, make of that what you will. I must say, Faith Brown is one of the best Norma's I've seen and heard: But nobody beats Debra Byrne: I didn't get to see that tour (although I would've loved to). Of the three I've seen live Kathryn Evans was incredible, Glenn Close was good and Jessica Martin was okay. I can't wait to see this tour, but I am a huge fan of the Watermill actor musician production, so it may take something special for me personally.
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Post by SageStageMgr on Sept 20, 2017 9:28:20 GMT
Is Danny Mac famous then? I've literally never heard of him except posts on here.
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Post by SageStageMgr on Sept 20, 2017 7:28:21 GMT
Earl Carpenter did a podcast a few years back (he was Joe in the 2001 tour)... let's just say Faith Brown wasn't adored by her colleagues. She was meant to be great at being a washed up has-been, make of that what you will.
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