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Post by SamB (was badoerfan) on Feb 4, 2018 13:44:54 GMT
I was really surprised at the number of people who came in late during Five Guys Named Moe the other night - but even more so that all of them came in clutching drinks. Surely if you're late, you'd want to go in as soon as possible, not lose another five minutes waiting for drinks.
It surprised me even moreso considering this show has a later start time than nearly any other West End show, at 7:45.
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Post by SamB (was badoerfan) on Feb 3, 2018 12:25:12 GMT
At Matilda the other night, my boyfriend and I were sat next to two girls, I'd guess about 11 and 13 (I'm rubbish with kids' ages). At several points throughout the show, they were chatting to each other, and I was occasionally getting frustrated with it...
...but I realised that everything they were saying was about the show. And most of it was them being really wrapped up in it 'wow, did you see that' 'look at the one at the back' 'that's so cool', as well as the occasional time the younger one not getting something, and asking her sister to explain/repeat. It was a bit annoying for me, but I didn't have the heart to ask them to be quiet, it was just so good to see kids really enjoying and engaging in theatre, and the last thing I wanted to do was to be the grumpy adult who puts them off theatre for years.
On the other hand, I'm sure when I was a kid I was taught to appreciate quietly, and if I missed something, tough, I'd have to wait.
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Post by SamB (was badoerfan) on Feb 1, 2018 13:51:34 GMT
I am surprised there hasn’t been much more buzz about this on here. Saw it for the second time on Friday, the £10 seats are a steal. Although I am not a fan of this genre of music, I like the title song though, the story is paper fin but insanely enjoyable. This is truly a ensemble piece and anyone try and name a better ensemble on the West End stage at the moment? The cast of 6 works their socks off. 4 Stars I'd go as far as to say that the £10 seats are better than some of the more expensive. I was in Row E (the back row of the first block of seats in the Circle), which has a face value of £26.50, and I would rather have been sat a row or two further back. Row E is actually on the same level as the two rows in front of it, with no rake, whereas F is raised a step higher, and G a step higher again, so I imagine the view would be better from F or G.
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Post by SamB (was badoerfan) on Jan 25, 2018 19:44:54 GMT
Is there a list anywhere of the various casts throughout the year? Trying to remember who I saw the different times I went to see it.
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Post by SamB (was badoerfan) on Jan 13, 2018 14:21:11 GMT
It occurred to me the other night - do the girls who play Young Cosette and Young Eponine just go home after their scenes? They don't bow at the end.
And is Young Eponine an alternate for Young Cosette? Or do they cast a child to just come and be sung at on stage?
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Post by SamB (was badoerfan) on Jan 7, 2018 21:40:25 GMT
I think it would be less ridiculous if it wasn't so awkward. It's a steep auditorium, so when I saw it there was quite a bit of wobbliness, people having to lean out of the way as they climbed up, and a bit of nervous/awkward laughter from the people they were nearly treading on.
I think it's a nice idea, but it doesn't really work - it was all a bit 'haha woah, they're actually climbing over us'. And then it is a bit awkward that they have to push past a whole row to get back to the stage for the bows.
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Post by SamB (was badoerfan) on Dec 20, 2017 17:16:46 GMT
Would anyone like a free ticket to tonight's show? I'm sick so can't go. Solo seat in Grand Circle, free to a good home. DM me.
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Post by SamB (was badoerfan) on Dec 15, 2017 20:58:23 GMT
I didn't listen before, and still thoroughly enjoyed it - I wanted to experience it all for the first time. I probably did miss out on some nuances, and if/when I see it again, I'm sure I will appreciate it differently. But I don't think either way is right or wrong.
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Post by SamB (was badoerfan) on Dec 15, 2017 18:16:33 GMT
Since moving to London mid-September I have let my hair grow and grow. I am looking like Sue Perkins and have been told it isn't really my style. I am a student living in Lewisham so don't want to splash out crazy amounts for haircuts and need some advice of any good places! Locally, I can recommend Chaplin's in Deptford (they also have a branch in Crofton Park, though I've never been there - I assume it's decent too). A cut is £13.50, and they've generally been good for me. If you can, try and book Mem, he's the owner, and the first time I went in he gave me a lot of advice on what would work for me, and then on how to care for the cut he'd done. But they're generally all good. Book an appointment on their website.
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Post by SamB (was badoerfan) on Dec 15, 2017 18:13:37 GMT
Woman in White tomorrow night.
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Post by SamB (was badoerfan) on Dec 14, 2017 12:59:53 GMT
I really enjoyed it too, and I really liked the large puppets. In particular, I loved the Gepetto puppet, I thought it was really expressive, and really suited its voice and the way it moved. Perhaps with the large puppets it helps being far away? I was near the back of the circle, so I wouldn't have been able to see actors' expressions anyway, so for me it really worked with the puppets.
The show itself is good, but flawed. As someone said above, it could do with ten minutes of dialogue being trimmed in each half, and at least one more proper song near the beginning.
The only scene I really didn't like was the Pleasure Island sequence. I found it overlong and offputting, but then it's like that in the film too - the whole concept of that is really flawed. No sympathetic characters,it's VERY obvious to the audience what is happening ("lol they can't read"), and I could particularly have done without the whole Wee Jimmy Krankie routine we got from the main child character too.
Other than that, for all I was restless at times, I have to admit the ending really got me - and that's when I realised I was engaged and invested. So it definitely did something right.
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Post by SamB (was badoerfan) on Dec 5, 2017 21:17:48 GMT
I wouldn't mind it so much if there was something actually special about the seats, other than being in the (supposedly) best place of the theatre for views.
For example, at most cinema chains these days you can shell out extra for 'premium' seats, which are usually two rows in the middle, with the best views - but they're also bigger seats, comfier, often wider, with a higher back, so you really are getting a better experience for your money.
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Post by SamB (was badoerfan) on Nov 22, 2017 21:40:35 GMT
I know this is cheeky but has anyone try to get day tickets in the afternoon? can't make it to the theatre earlier... They only sell 11 tickets according to theatremonkey but I wonder if the release other seats when it's quiet... No idea of the answer to your question, but they also do dayseats via TodayTix.
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Post by SamB (was badoerfan) on Nov 20, 2017 22:47:59 GMT
I'm having a think about songs that are about music, and I was wondering what musicals songs we can think of between us that are about music.
It could be about music or songs in anyway - how great music is, how bad it is, about a singer, a song, about listening to music. Not just about dancing though!
So far I've come up with The Sound of Music and Do Re Mi, but there must be lots more songs about music in the world of musicals!
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Post by SamB (was badoerfan) on Nov 20, 2017 8:05:48 GMT
Saw this again tonight at the Arts - really enjoyed it, though perhaps not as much as at Southwark. I actually didn't think there was that much changed (not as much as I'd expected from previous posts), though some of the jokes didn't land quite so well for me, possibly because I was already expecting them, having seen it before. Brilliant cast, all of them, clearly having an amazing time and putting everything into it. I laughed like a drain at {Spoiler - click to view} the (extended) scene where Sarah loses her stick, which was much longer than at Southwark - and perhaps longer than normal here, as everyone seemed to genuinely be cracking up on stage (or maybe that's part of the act?)the (extended) scene where Sarah loses her stick, which was much longer than at Southwark - and perhaps longer than normal here, as everyone seemed to genuinely be cracking up on stage (or maybe that's part of the act?) The only joke/scene that didn't land was the one with the hairdresser {Spoiler - click to view} interacting with the audience, asking a guy in the front row his name, and then asking him if he wanted a power bottom (!). Bizarre, out of place and unfunny - crude as much of the other humour is, it's generally quite universal, and this wasn't. Pretty full downstairs at least, other than the back two rows - couldn't see upstairs. And a very appreciative audience too. Re the audience participation during the hair salon scene, I think how well it’s received depends on the person being interacted with. Tonight, that poor sod was me. I cringed and absolutely did not want to engage. So if I spoiled that brief moment then I apologise It was the matinee I saw, so it wasn't you! Bad timing, we just missed each other. The guy at the matinee did engage, giving his name at least, but the joke still didn't land. I just think it's very out of place.
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Post by SamB (was badoerfan) on Nov 19, 2017 20:59:46 GMT
On a serious note, what is the midweek group rate for this? £39.50? Can we get 10+ TheatreBoard peeps together? I would be up for this if we could make it work.
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Post by SamB (was badoerfan) on Nov 19, 2017 20:46:31 GMT
Saw this again tonight at the Arts - really enjoyed it, though perhaps not as much as at Southwark. I actually didn't think there was that much changed (not as much as I'd expected from previous posts), though some of the jokes didn't land quite so well for me, possibly because I was already expecting them, having seen it before. Brilliant cast, all of them, clearly having an amazing time and putting everything into it. I laughed like a drain at {Spoiler - click to view} the (extended) scene where Sarah loses her stick, which was much longer than at Southwark - and perhaps longer than normal here, as everyone seemed to genuinely be cracking up on stage (or maybe that's part of the act?)the (extended) scene where Sarah loses her stick, which was much longer than at Southwark - and perhaps longer than normal here, as everyone seemed to genuinely be cracking up on stage (or maybe that's part of the act?) The only joke/scene that didn't land was the one with the hairdresser {Spoiler - click to view} interacting with the audience, asking a guy in the front row his name, and then asking him if he wanted a power bottom (!). Bizarre, out of place and unfunny - crude as much of the other humour is, it's generally quite universal, and this wasn't. Pretty full downstairs at least, other than the back two rows - couldn't see upstairs. And a very appreciative audience too.
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Post by SamB (was badoerfan) on Oct 24, 2017 18:39:18 GMT
Frustration at Wicked the other night, less from the audience and more from the ushers. Walking up and down the aisle throughout the performance was distracting enough, but worse was when they needed to bring latecomers in.
Yes, the fact they are late is the fault of the latecomers themselves, and some would argue they shouldn't be allowed in at all, because it's disruptive. In Wicked, they bring people in during What Is This Feeling, which is one of the less essential and dramatic songs of the show - it makes sense, it's less disruptive. However, the ushers spent the last two minutes of The Wizard and I - i.e. one of the most dramatic and vocally impressive moments of the show - going around the empty seats and talking to people, in order to prepare them for people coming in, get them to move any coats they'd put on seats next to them, make them shuffle back up if they'd moved along... It makes sense to do that, as it makes the bringing-people-in less disruptive - but in doing that, they just disrupt more people, for rows behind, ruining one of the best moments of the show.
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Post by SamB (was badoerfan) on Sept 30, 2017 12:16:49 GMT
Anyone know for sure whether or not Leanne was on tonight (Thursday)? Leanne doesn't perform Thursdays. When I saw it a couple of weeks ago, we had the 2nd understudy. Saw this on Thursday night, and Leanne was on - at least, the cast board said she was, and it very much looked like her! Mixed feelings on this. I loved the music, and even enjoyed the songs, although Gershwin songs aren't really my cup of tea - I thought they were very well used here. I loved the dancing too, which I thought was beautiful and really engaging. However, I have huge problems with the plot, or rather with Jerry's character. I just don't understand why Lise falls for him, or why we are meant to root for him. He falls in love with her, then goes and disrupts her life at her workplace and nearly gets her fired, even though she repeatedly tells him to go away and that she isn't interested. He then meets her by the river, where she again tells him she isn't interested, but he just goes on and on at her - physically grabbing her at time - until she finally gives in and agrees to give up her time and be with him an hour a day. It was just the ultimate 'romance' trope from movies, which isn't actually romantic at all. Persistence is not romantic, it is annoying, and when a girl isn't interested, she's not interested. Just leave her alone. And don't get me started on the fact that he continues to pursue her even when he knows she's engaged to his friend, and is himself in a relationship with Milo. Oh, and the whole 'I don't like the sound of your name, so I'm going to call you something else, because that's apparently romantic, and not actually self-obsessed and controlling behaviour at all'. f*** that. It's a shame, because I actually really enjoyed the show as a whole - but the plot and the character just ruined it for me. On the positive side when it comes to Jerry, Ashley Day is absolutely 🍑🍑. Now that was a part of his character I could get behind. Repeatedly.
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Post by SamB (was badoerfan) on Sept 14, 2017 21:10:48 GMT
I absolutely LOVED this tonight! It's just such a great show.
And I was sat next to Richard Stilgoe who is, it turns out, incapable of clapping in time. Arlene Phillips on the other side of him along with another crew member, both taking lots of notes throughout.
ALW at the start said they'd already changed some things from last night, and would continue to do so at each performance. I wish I could go again to see what they do with it. Sadly, I assume it won't be taking out the limp I Do.
More thoughts when I'm back on a computer.
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Post by SamB (was badoerfan) on Sept 14, 2017 17:25:31 GMT
I'll be there tonight, do say hi if you're there too!
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Post by SamB (was badoerfan) on Sept 8, 2017 21:49:08 GMT
All very clear now, thanks to help.ticketmaster.co.uk/hamilton-an-american-musical/You got automatically moved for shows on: " Tuesday 21st November evening has been moved to Wednesday 6th December evening. Monday 4th December evening has been moved to Thursday 7th December evening. Tuesday 5th December evening has been moved to Wednesday 13th December evening. Thursday 21st December evening has been moved to Thursday 14th December evening. Thursday 21st December matinee has been moved to Tuesday 18th December matinee. " Everybody else selects 3 choices on a form. I have, so hopefully will get one of them, as, like Steffi, I only needed a single. Were there originally no shows on these five new dates?
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Evita
Sept 3, 2017 17:24:48 GMT
Post by SamB (was badoerfan) on Sept 3, 2017 17:24:48 GMT
The film has just started on the Sony Movie Channel (32) if anyone else, like me, is sat on their sofa doing nothing! And for those like me who missed it, it's on again on Saturday at 13:10.
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Post by SamB (was badoerfan) on Sept 3, 2017 14:31:13 GMT
Thanks for this! TiVo set.
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Post by SamB (was badoerfan) on Sept 2, 2017 13:19:51 GMT
Love the Frances version, and nice that it's someone from the original cast. I'm not sure if that was the version in the show though. I like this version: I saw the first UK Tour twice in Manchester (one was a first date), and to begin with they were using Next Time You Fall In Love before moving to Only He/You the second time I saw it. I did not like Jane Horn as Pearl. So originally it was as per the OLC with Only He sang by Pearl followed by a brief reprise as Only You which was a duet. Then changed sometime between 1984 and 1987 when I first saw it to the duet Only You (similar to the Ruffelle/Crawford version). That was then standard for all the international versions. The 'new' Starlight Express in 1992 had Next Time You Fall In Love (which in previews had different lyrics and was called something like They're Out To Get You or Alone In The Light Of The Stars). UK tour started previews with Next Time, then was changed in first stop in Manchester to a new version of Only He (a duet; verses, chorus and bridges moved around but basically same melody; amended lyrics by Yazbek). I preferred this version, pretty much everyone else didn't. Somewhere on You Tube you can hear Gemma Atkinson singing this. Then the most recent tour had I Do, written by ALWs son to whom he'd dedicated the 'new' 1992 version to. Interesting, I was also in the minority liking Jane Horn - what was it about her performance out of interest!? Thanks for this summary, very comprehensive! I far prefer Only He/You to Next Time You Fall In Love - the latter is a perfectly decent song, but has very little to do with the show. Some of the lyrics feel like they're written by someone who'd never seen the rest of the show.
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Post by SamB (was badoerfan) on Sept 1, 2017 23:55:05 GMT
Pretty sure the gentleman behind me at Follies tonight was dying of consumption. I get that it's a special night out, and you don't want to allow illness to ruin it, and that's true to an extent. But when you're ill enough that you're coughing heavily throughout nearly the whole show, it's best for everyone if you just stay at home.
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Post by SamB (was badoerfan) on Sept 1, 2017 22:52:55 GMT
Thanks for the heads up! I've booked for the 13th. Is it too much to expect them to have gone back to the original score. I hope there's no modern updates, like the hideous rapping cat in Cats. Fascinated to see what the ever-changing 11 o'clock number will be! I've liked Only He, Only You, Next Time, Only He (tour/Bochum version) and I Do very much, but could it be time for yet another new song? I'm curious after reading this. Did Only He turn into Only You for a while? If so, was it a duet version (the same as the Michael Crawford/Frances Ruffelle version on Crawford's album)? Or something different? Or just the short duet that follows Only He on the OLC?
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Post by SamB (was badoerfan) on Aug 30, 2017 21:45:38 GMT
Cool, thanks for the heads up!
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Post by SamB (was badoerfan) on Aug 30, 2017 21:28:30 GMT
Finally took the plunge on this after the infamous website dynamic pricing threw up the legendary D25 in the Royal Circle for £14.75 - money well spent! It's a great seat, an absolute steal at that price, far better than sitting up in the balcony or even at the back of the stalls.
As for the show... I'm glad I've seen it, I liked it, I didn't love it. A bit too "ey-up guvnor 'ows yer father" for me, perhaps. I had issues with the plot in the same way that someone did about 30 pages back - there's little motivation for why Charlie suddenly decides he does love Anne after all, and why his besottedness with Helen comes to an abrupt end, other than the prospect of his future mother-in-law! The first half drags somewhat (the people in front of me had a wonderful conversation that I totally agreed with - "you get into it a bit, and you think you're enjoying it for a while, and then I'm like 'I'm a bit bored now'"). The second half picks up, with the better songs and a much tighter storyline. And the last 20 minutes is really enough to erase any of the boredom from earlier on, and I certainly left with a smile on my face.
As everyone else has said, the cast is excellent - Charlie Stemp has the makings of a real star, and I hope he can transfer the charisma he has here to another vehicle. Emma Williams is lovely, and not given enough to do (I was waiting for a big eleven o'clock ballad near the end) and Devon-Elise Johnson is charming and sings beautifully. My only criticism of both of them isn't really aimed at them, more the piece - that the accents they are forced to put on for the show prevents them from really singing out and showing their full range and power, which is a shame.
Overall, it's a good production of a decent, if flawed show. I'm very glad I caught it before it closed.
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Post by SamB (was badoerfan) on Aug 16, 2017 8:20:07 GMT
On the issue of stereotypes, I think it was my review that initially sparked the discussion, as I did take issue with how the gay parents were portrayed. I agree that all the characters in the show are in some way stereotypes, but feel that the gay parents are a mis-step, as it is just too easy in my opinion. It is just the default position when playing such characters, and particularly in what is essentially a children's production such as this. I also didn't mention the sound issues in my review. At times, I found the lyrics and some of the dialogue to be incomprehensible due to some dodgy sound, which was a real shame. I must say that actually I think to have homosexual parents works very well. I don't think that they both fit the stereotype at all. I think one plays the character like Cam from Modern Family (Emmy Award Winning) and the other is really camp at all. The thing is with stereotypes they are designed for people to realise the persona they are being. I dont think the audience would realise that they were a homosexual couple if they were both 7ft body builders. If they were played this way, the only way this would be recognised is if they played tonsil tennis with each other which is even more inappropriate for a child friendly production! I think there would be more uproar if the were not any same sex couples represented. It's a sad world we live in if we think that the only people can recognise a gay couple is if they're overbearingly camp.
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