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Post by SageStageMgr on Jul 15, 2017 21:43:47 GMT
New review at UnoriginalCastRecordings - My Fair Lady 2001 London Cast Recording... Link here: bit.ly/2v4TLzQYEAR: 2001 CAST: Jonathan Pryce, Martine McCutcheon, Mark Umbers, Dennis Waterman, Nicholas Le Prevost I only saw this wonderful production very late in life, back in early 2003, by which time it was onto its third cast (I saw Anthony Andrews with Katie Knight-Adams and Laura Michelle-Kelly respectively – a young Michael Xavier played Freddy). I was overwhelmed by the slickness of it; even for a Cameron Mackintosh show, this My Fair Lady felt glossy to the extreme. In the context of this musical, this was most welcome. What a terrific cast recording this is. Everything about it oozes class, right down to the glossy booklet in the case. The 34-piece orchestra sound magnificent and the casting is second to none. If you’re reading this review, chances are that you’re as obsessed with musical theatre as I am, so a detailed history of this production’s early troubles is unnecessary. Did Martine McCutcheon deserve her controversial* Olivier Award win? Probably not, in truth. But her performance on this recording is a wonderful capture of how terrific she could have been in the role of Eliza Doolittle. I remember the hyperbole at the time vividly; the marketing line was (from Cameron himself) that Martine was the next huge star of the stage – a future Julie Andrews. Yes, seriously. The gimmick being that, for the first time, the character is real. A real-life working class cockney girl (McCutcheon was born and bred in Hackney), who worked feverishly on her R.P accent – as opposed to the usual posh girl learning to talk ‘common’. For what it’s worth, although I find Martine’s voice rather thin, especially in ‘I Could Have Danced All Night’, her characterisation is lovely and really feels warm and genuine. I find her very listenable when not ‘overexposed’ vocally. Jonathan Pryce gives simply a masterclass in acting for musical theatre. His Higgins is note perfect, every intonation and characterisation meticulously considered. Grumpy, arrogant.. yet somehow still human – still likeable, Pryce is magnificent. This performance should be played to young actors as the example of how to act through song. That’s not to say he can’t sing – he can and does when needed, putting him streets ahead of Rex Harrison on that score. Mark Umbers is suitably over the top and sings nicely as Freddy, a thankless role in truth. Dennis Waterman (not my favourite person after his admissions of alcohol-fuelled violence towards his ex-wives) makes a decent Alfred. I do wonder how strange it must’ve been to sing every night about being a drunken fool. The recording flies by with no weak numbers or dodgy performances. Longish instrumental sections are left in during ‘Ascot Gavotte’, for instance, which is only a good thing when the orchestra sounds this good. 100% recommended! *Jonathan Pryce, McCutcheon’s co-star, infamously heckled her win at the 2002 Olivier Award ceremony. Her understudy, Joanna Riding, played more performances than her at both the National Theatre and Theatre Royal, Drury Lane. When Riding eventually fell ill, a young Kerry Ellis performed at short notice in front of an audience containing a certain Brian May, leading to the strangest friendship in showbiz.
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Post by SageStageMgr on Jul 13, 2017 16:02:32 GMT
I'd love to and would've been there but I'll be in France working
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Post by SageStageMgr on Jul 13, 2017 15:59:17 GMT
I got some last minute tickets to the first preview of this last night and enjoyed it immensely. Omid Djalili is perfect as Tevye. At the start, Daniel Evans came out to say that the actor who was playing Lazar had been taken seriously ill and a stand had had less than 24 hours rehearsal (Gareth Snook), but it all went well, no fluffed lines or technical issues that I could see. I saw the touring version 4 years ago, and this one is far superior IMHO. A young and energetic cast kept things lively, it got a well deserved standing ovation. After the 'meh' Sweet Bird of Youth, it was great to see something more appropriate on the big stage. Gareth is an excellent professional.
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449 posts
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Post by SageStageMgr on Jul 13, 2017 15:58:01 GMT
I really, really liked C.R Horwood's touring production but loathed it in 2007 in town. Might check it out.
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449 posts
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Follies
Jul 13, 2017 15:56:19 GMT
via mobile
Post by SageStageMgr on Jul 13, 2017 15:56:19 GMT
Minimum £10 "donation"!!!
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449 posts
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Post by SageStageMgr on Jul 13, 2017 15:54:53 GMT
Oh **** off Emma Rice.
You've already ruined my favourite musical, so you have to ruin my favourite theatre too?
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Post by SageStageMgr on Jul 13, 2017 15:52:56 GMT
Just met my new class for September. All was lovely - apart from the fact that I didn't get the email about wearing a giant bow in my hair! That's definitely for the best - I went to one audition where some poor girl turned up with Simon Bowman in her hair - turns out her monitor was broken.
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Post by SageStageMgr on Jul 13, 2017 15:51:02 GMT
No, What's on second. Who's on first! I'm not telling you who's on first. What's on second, third is why?
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Post by SageStageMgr on Jul 13, 2017 15:49:09 GMT
I didn't know ALW was going to the fringe with his One-Man Stand-Up routine this year. I wish him luck. On ticket prices, it's those who are not "in the know" or not flexible enough with their diaries that I pity. In some ways, dynamic pricing and day seats have made tickets far cheaper - but it doesn't solve it for the working folk in the mass market outside the tube zones, really. That said, it can work the other way, and buying far in advance can save a lot on some shows. Very, very difficult. Monkey, I love you and I'm sorry to ruin kayfabe (https://en.m.wikipedia.org/wiki/Kayfabe) but you're several people on the website at least... What is your honest opinion of ticket prices compared to 10 years ago?
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Post by SageStageMgr on Jul 13, 2017 14:57:14 GMT
I've dayseated a bit in the past. I immediately introduce myself to everyone when I arrive, and establish who is first, second etc. If they are holding for anyone, how many tickets they are buying, etc. Everyone knows where they are and it breaks the ice. But I am a bit an extrovert! Plus it's a fantastic flirting opportunity #creep Try that in Manchester and you'd probably get duffed up. Not that we have dayseats in Manchester. People would laugh.* *before someone corrects me, yes I know the Royal Exchange sells their "bonkettes" on the day but no-one would turn up before the box office opened. I lived in Yorkshire for ten years... I don't do paying for tickets in the sticks!
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Post by SageStageMgr on Jul 13, 2017 14:47:55 GMT
Well that's just not cricket at all really. You should firmly tell them to get to the back of the queue if they wish to buy more than 2 tickets. If that doesn't work, take a bottle of coca-cola from your bag and empty it all over them. Dries just as quickly as water but it's sticky. They won't do it again. Alternatively, fall to the floor crying out that they struck you and call the police to have them arrested for assault. Scum. I can't remember the last time I saw 4am but if I got up at that ungodly hour and someone crossed me then they deserve all they get. You don't watch 10 years of 'Dynasty' and not walk away with something. Screamingist board member goes to you... and I love it!
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449 posts
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Post by SageStageMgr on Jul 13, 2017 14:46:47 GMT
Well that's just not cricket at all really. L It's a bit Japanese mate
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449 posts
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Post by SageStageMgr on Jul 13, 2017 14:45:26 GMT
I've dayseated a bit in the past. I immediately introduce myself to everyone when I arrive, and establish who is first, second etc. If they are holding for anyone, how many tickets they are buying, etc. Everyone knows where they are and it breaks the ice. But I am a bit an extrovert! Plus it's a fantastic flirting opportunity #creep
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Post by SageStageMgr on Jul 13, 2017 13:55:10 GMT
If we all had his money we'd be laughing. Unfortunately since "Book of Mormon" opened here top price tickets have got stupid. I used to buy top price but now I can only afford the cheapest if I want to see something. I remember it was Spamalot that did it. £55!!!! Forced Phantom's top price up to £42.50 😡😡
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Post by SageStageMgr on Jul 13, 2017 12:40:04 GMT
How do we feel about Ruthie?
Too old?
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Post by SageStageMgr on Jul 13, 2017 12:39:17 GMT
I've always found shows at Liverpool Empire to be disappointing. The sound quality there is dreadful and it always seems a cavernous space to fill. Footloose died a death there it was awful. I sound an electric Blood Brothers there 8-9 years ago... it was incredible. Evita, however, was balls.
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Post by SageStageMgr on Jul 13, 2017 7:42:10 GMT
I personally loathe the Adelphi, it's my personal least favourite theatre... shows just get swallowed up, the sight lines are atrocious and it smells of wee.
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Post by SageStageMgr on Jul 11, 2017 21:22:19 GMT
Ah Salomé, what a woman, what a part...
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Post by SageStageMgr on Jul 11, 2017 21:20:39 GMT
On another note Beijing theatre scene is not great, For the rest of this year they have the tours of: Sister Act The Bodyguard Jersey Boys FML Nothing wrong with a bit of Jersey Boys...
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Post by SageStageMgr on Jul 11, 2017 21:19:18 GMT
Also (this is WAY off topic now but since we're down the rabbit hole) I've always felt really sorry of Andre. Yes he married her, yes he's an idiot for that BUT he seems like a fairly decent guy. And dedicated to the kids (including the one that isn't his) And as the Smash Hits Tour 1997 attests, he could do a pretty decent concert back in the day. Not that I'd know. Obviously. I remember when you had credibility! ;-)
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Post by SageStageMgr on Jul 11, 2017 21:17:49 GMT
In Carrie Hope Fletcher's defence...
I don't use Twitter and don't really care what some actress I've seen in precisely one production says about, well, anything.
Wait, the defence is coming, bear with...
Does she have a speech impediment? I saw her in LM (she was off on the previous four visits) and she seemed to sing as if she wore braces, or had a lisp. It was quite cute, but unexpected. Her vocals were good, nothing earth shattering, but certainly solid.
And now the defence; she's a very hot young bird, wheeeey!!!!
Am I right lads? *looks around and everyone is gay*
Taxi!
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Post by SageStageMgr on Jul 9, 2017 15:43:20 GMT
My next review is now live @ Unoriginal Cast Recordings (original link here: bit.ly/2u0mp73)Enjoy! And now for the one you’ve all been waiting for… yes! It’s Muppet Christ Superstar! Wait… what? In case you hadn’t noticed, I love me a weird and wonderful cast recording. They certainly don’t come any weirder (I’m unsure about the ‘wonderful’ part) than this bizarre offering from 2014 by Christopher Graham. Now, I am admittedly breaking my own personal rule about only reviewing albums I personally own a hard copy of, and which saw an official release. But a musical based off Jesus Christ Superstar starring The Muppets is too tempting to turn down, so I’ll make this one an exception. This fan-made effort by Christopher Graham is completely unofficial – it uses pre-existing backing tracks and is in no way licensed. Created as a student project, the full, 32 minute album is freely available on Youtube and never received – or will receive – a physical release. IT IS JESUS CHRIST SUPERSTAR STARRING THE MUPPETS. Graham performs all the roles himself (including the backing vocals and “chorus”), an impressive feat that not even the late Jim Henson can lay claim to. The impressions are hit and miss – his Kermit (who plays Jesus (!)) is pretty much spot on. Some are less good; his Miss. Piggy (Mary Magdalene) is so-so, but his Gonzo (Judas) sounds nothing like him. But the fact he is making a generally passable stab at so many classic characters deserves credit. The writing is terrible – the jokes largely amount to swapping Jesus’s name for Kermit’s and features lines like; “If you strip away the myth from the frog”, which starts off as amusing but quickly grows tiresome. Particularly because it isn’t consistent and half the time the concept is forgotten about completely and the songs sung straight, with original lyrics. Substituting the odd word here and there and leaving everything else intact does not a parody make. His singing is also terrible, but this doesn’t matter. The singing in Muppet musicals is always terrible. Despite being a joke album, made as a student project, the irritating thing is actually the concept has some potential. With completely re-written lyrics and appropriate story adjustments, this could have actually worked as an (albeit extremely niche) comedy release ala Forbidden Broadway. Not that Disney or RUG would license it in a million years.
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Post by SageStageMgr on Jul 8, 2017 10:13:21 GMT
That rumour is true by the way. That's all I'm saying. Not that I've checked personally. I just know...
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Post by SageStageMgr on Jul 8, 2017 9:55:14 GMT
Just an observation, but BurlyBeaR asked about The First Lady of British Musical Theatre. So how come the names of Gary Barlow, Michaels Ball and Crawford are mentioned. Have I missed summat???[ [ They are playing The Shirelles in blackface at Beautiful: The Carole King Musical. I for one can't wait!
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Post by SageStageMgr on Jul 8, 2017 9:01:40 GMT
To be the First Lady of Musical Theatre youbhave to have wider recognition outside the niche world of musical theatre and also fly the flag and represent it to a wider audience. Yes in recent years she has become a bit annoying as a personality, but i think the flack Elaine Paige gets is unfair. Id say Elaine Paige and Michael Ball id also say Sheridan Smith and Imelda Staunton have potential based on name recognition, awards and public appeal (even though i personally cant stand Sheridan) Absolutely 100% this! Elaine Paige was the first and only name that sprung into my mind - and I can't stand her generally (sorry EP fans!). Who have people who don't watch musicals heard of? Michael Ball, EP. Maybe Gary Wilmot. I didn't mean for my previous post about Ellis to seem so harsh, especially as I don't mind her, but she's hardly a household name. EDIT: Also, Michael Crawford. It occurred to me that originating roles is extremely important for several reasons. You'll go on the cast recording, you'll be given all the media and promotional work, go in the critics reviews (when was Phantom in the West End last re-reviewed by the mainstream press? Would Ben Forster in 2017's context get raves?) and so forth. Lots of MT performers are extremely talented but limited to being what I call a 'takeover artists' in long-runners and second/third/eightieth casts. How many brilliant Phantoms have there been since Crawford - and how many outside of our little MT circle could Joe Public name? Originating a role is a massive boon and requires being in the right place at the right time. Elaine Paige originated lead roles in Evita, Cats and Chess before gaining millions of listeners each week on national radio. Michael Ball in Aspects of Love and Les Mis, came 2nd in Eurovision and created a successful solo recording career in his own right.
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Post by SageStageMgr on Jul 8, 2017 8:11:23 GMT
My first guess was Paige when i saw the title. Kerry Ellis would be in the running in terms of relevance today Kerry Ellis? The one who replaced Idina Menzel (Wicked, If/Then, Frozen) in that show in London and who was turned down by Will.i.am for The Voice?
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Follies
Jul 8, 2017 7:02:29 GMT
via mobile
Post by SageStageMgr on Jul 8, 2017 7:02:29 GMT
Imelda hasn't failed me yet...!
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Post by SageStageMgr on Jul 7, 2017 22:30:47 GMT
Fab review, thank you! I thought the show was terribly boring, despite a few good tunes and decent staging here and there. Ovenden did play the piano. Best thing about the show was the curtain showing Ruthie's face filling the stage and occasionally winking. Thank you! I don't remember this but it sounds the stuff of nightmares...
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Post by SageStageMgr on Jul 7, 2017 21:44:25 GMT
I assumed they were wed - I've just checked the wikipedia and it describes her as his mistress... I just supposed they would be married, as I thought it would make a lot more sense dramatically speaking. As for that opening number, it always grates on me so it gets skipped. It's very much like 'Facade' from Jekyll and Hyde - and that isn't a good thing.
Incidentally, I don't think it really comes across in my review just how unpleasant Marguerite is as a person. She has honestly no redeeming qualities whatsoever. Unlike opera, where high drama and flowery romances are tolerated - even expected - because of the medium, in a musical people don't necessarily want that. Take 'Phantom' for example, there are plenty of juicy murders and intrigue to keep the viewer engaged, amongst the love songs... I think Marguerite is a lost cause, short of a complete - and I mean complete - rewrite.
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Post by SageStageMgr on Jul 7, 2017 15:24:32 GMT
Thank you so much Mallardo for your informed and interesting response. I love the term 'moral vacuum' - that's exactly the problem. Alex Hanson is always Mr. Nice Guy as well, it's slightly ridiculous casting, as much as I like him as a performer.
Can you tell me any more about the revival at the Tabard Theatre? I'm intrigued to know how they could've messed up the book any more...
Finally re: Legrand, his musical is exquisite. As mentioned in the review, "Umbrellas" is my favourite movie musical but I loathed the Kneehigh adaptation. What did you make of it?
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