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Post by anthony on Aug 25, 2021 23:16:06 GMT
Novello were excellent on Covid checks - pass/LFT checked for all customers, meaning we went up 15 minutes late. But I'd rather that than be rushed through. Still frustratingly low mask wearing - have said it before but it isn't that much of an imposition I don't feel 🤷🏻♂️ What irritates me about this more than anything is that when I saw Heathers at the end of last month, very few people were wearing masks. The stage manager appeared on stage at the start of act 2 and asked everyone to put masks on. 80% of the audience did so. Why aren't these shows, at the very least, asking for masks during the "turn phones off" announcement?!
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Post by anthony on Aug 25, 2021 22:53:45 GMT
I feel like I'm becoming so negative... but I saw this tonight and just didn't feel it. It's just a really bizarre cast. It was like a pantomime on steroids. Some of the characters (Georgia Anderson's Amber and Mari McGinlay's Penny are 2 which really jump out,) I could barely understand a word they were saying. Whenever Ashley Samuels (Seaweed) started to sing, he would literally stop interacting with any of the characters and just turn and sing to the audience - it was just weird. Almost like he was performing a solo concert.
We had Bradley Judge as Corny Collins, and he was brilliant. Other stand out was of course Marisha Wallace's Motomouth & Ball's Edna. Les Dennis on the otherhand... He was fine when singing, perfectly in character, but whenever he wasn't front and centre, he would just zone out. I mean his face would literally be void of all emotion - I genuinely was slightly anxious at the end of act 1 as I thought he was sick. Just before he left the stage, when everyone else is holding hands, he literally just stopped dead randomly and stared blankly. It was... odd.
It wasn't terrible by any means - the audience loved it. It just didn't really "gel" with me.
re: masks - there was no announcement. I'd say maybe 90% of the audience weren't wearing masks. We were the only ones in our row and the row in front of us to wear masks.
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Post by anthony on Aug 13, 2021 21:12:25 GMT
My favourite of these concerns EVITA, the film I think (or an article about Evita generally around the time of the film). I wish I'd noted the journalist's name, but their main sneer against ALW was that the musical was a cynical money maker, writing a show about someone so internationally famous - I mean how easy and obvious can you get!! How young they must have been not to know that Eva was little known by 1976, and the musical itself made her more famous than she'd ever been. Idiot. Of course, that show was Tim Rice's baby (and idea) rather than ALW's. It's a shame ALW doesn't have much time for it, because it's probably his best score. If anything the least daring subject-matter wise was LND. It seemed too keen to pander to a certain demographic that they figured would love a Mills & Boon fanfiction-esque treatment. But then sequels like that are usually borne out of trying to milk the commercial success of the predecessor. I didn't like the execution or end result of Stephen Ward, but I *did* like the idea. Whilst a great score, it's just so dreadfully boring on stage, isn't it? I've seen two different productions and genuinely just find it so incredibly boring. I don't know why. Same with West Side Story. I think Webber is in a position where he is seen as somewhat "uncool". The recent revival of Woman in White was just sublime and deserved so much more credit. I also wondered if it was meant for something more - why would he rewrite it, create a "final" version, only to shove it in a low-capacity off-West End theatre? The cast was epic. I'm still gutted there wasn't a cast album. I loved Stephen Ward too - wonder if it would have been better in a smaller theatre, such as the Charing Cross Theatre...
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Post by anthony on Aug 13, 2021 20:29:55 GMT
I've never understood the hate LND got, tbh. It's probably his best score. Only thing I don't get is why it was practically based on the Phantom in Manhattan novel by Frederick Forsyth, but seemingly without any credit? All versions of LND, other than the West End, including the North American tour, the Austrian concert, the Australian production, the Danish production, have all been critical and box office successes. People didn't like LND purely because it was a Phantom sequel. I mean look here... we literally have people refusing to see it because some candles don't move left or right.
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Post by anthony on Aug 13, 2021 9:02:40 GMT
Interestingly, tickets are now available on TodayTix again - both as a general buy and rush. They were removed from general sale on there and now readded.
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Post by anthony on Aug 11, 2021 18:24:38 GMT
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Post by anthony on Aug 11, 2021 14:28:06 GMT
All very odd! I’d booked for February 2022 to see this in Oxford, but that’s been brought forward to the start of November 2021 rather than be postponed! I’ve not heard anything about the tour being cancelled, but who knows?! What annoys me about this whole situation is that they *knew* months before hand that the tour wouldn't start when advertised and would be postponed. They knew this because Blakely was already contracted to the Les Mis Concert until 5th September. The fact that they continued to sell tickets is a bit... dodgy, imo. Wouldn't be surprised if it ends up being cancelled.
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Post by anthony on Aug 11, 2021 8:27:26 GMT
Okay so, it seems as if enjoying Heathers is a bit of a controversial opinion around here and after my first visit during it’s original run in the other palace did not leave me feeling great about it (probably because CHF is not my cup of tea) my visit last night definitely changed my opinion. The crowd where I was (row H in the stalls) were very well behaved and any whopping came at sensible places which is a massive improvement from my last time where the rowdiness was constant. Performance wise, Christina is leaps and bounds better than CHF but I do agree with some criticism as I did find her a little bit too giddy at times but her voice is incredible. Jodie really did steal the show for me. She was so funny and I love her voice. She is Heather C for me. I do not agree with the comment that Shine a Light fell flat. Lauren Ward was hilarious and Andy Fickman was in the audience last night and during SAL, he spotlight went on him and I’m pretty sure some lyrics were changed (i’m not too familiar with the song but i’m sure a bit about not getting a part was added into the Steve affair verse) and he obviously lapped it up. The crowd loved it and the cast seemed to be holding back giggles. I spotted him in the box before it began and he went around taking pictures and speaking to audience members which was nice of him. I have a soft spot for Jamie as JD, however, I really enjoyed Jordan’s take on it. He was slightly less deranged than Jamie but his Meant to Be Yours gave me chills. Heather Duke suffered a bit from poor sound during Never Shut Up Again but she still sounded fantastic. Heather Mac was utterly delightful, though. Overall, I actually really enjoyed this show, much more than I did the first time around. Definitely not one of my favourites but it was a good night out. 3.5/5 I wouldn't say it's controversial, rather that there have just been a couple in a row (me included) who didn't like it for a number of reasons. Incidentally, I think the score is great; there are several wonderful songs many of which I've listened to practically on repeat since seeing it. However, in my opinion, it just doesn't "come together" on stage. To me, it almost feels like the writers wrote many of the songs for someone particular in mind and therefore made each song an exercise in vocal gymnastics, rather than content which actually progresses the story. The effect of which is that act 1 feels like it goes on for eternity for repeated "end of act songs" (if you know what I mean?)
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Post by anthony on Aug 10, 2021 22:18:16 GMT
I forgot to mention the chandelier when I posted after seeing it at the weekend. Whilst it's larger and looked physically impressive, it's very badly done. The paint is uneven (different shades of gold - you can literally see where it's been painted.) It looks like cheap plastic that's been painted with a cheap gold paint - like a children's toy, almost. There is very little detail in it.
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Post by anthony on Aug 10, 2021 16:01:09 GMT
Saw this for the 1000th time last night. Incredible as usual. The changes are not too large to worry Phantom fans. The most obvious one to me was the set for All I Ask of You (on the roof). Instead of descending from above, the Phantom swings around to centre stage on one of the statues from the roof set. The cast was great. Carlotta a bit weak on the diction and comedy aspects but with a great singing voice. Christine also great, although as a die-hard Sierra Boggess fan everyone pales in comparison for me. 5/5 - those who have not seen the changes need not worry :-) I felt the same! Wonderful and heartwarming that the vast majority of people going to Her Majesty's are enjoying what they find. And great after the sea of negativity about the show over the lockdowns, that it has emerged in such fantastic shape. Did you happen to notice if they are doing a Souvenir Brochure yet? They weren't Sat matinee.
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Post by anthony on Aug 10, 2021 13:58:49 GMT
The movie eventually has a release date, after being delayed. 17th September, exclusively on Amazon Prime.
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Post by anthony on Aug 9, 2021 21:28:07 GMT
A trailer for the non-replica version here:
Elphaba's consumes are slightly... cheap Halloween costume shop.
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Post by anthony on Aug 9, 2021 21:23:32 GMT
Another thing that hugely bothered me about Heathers is the constant homophobic language. Now, as a gay guy, I'm fine with it being used as a laugh in the context of a show, right? I'm not sensitive at all when it comes to this, actually. It's just words and it doesn't really bother me. Legally Blonde's "Gay or European?" is a perfect example of this, right? Arguably somewhat offensive, but done respectfully and in a genuinely funny way. I felt that Heathers went too far. Continuous and repetitive chants of "homo" throughout the entire thing, clearly to get cheers from the crowd mentioned above. There were genuinely moments where I didn't feel I was in on the "joke" (for it wasn't a joke) and instead was the butt of it and moments where I genuinely felt uncomfortable.
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Post by anthony on Aug 9, 2021 21:15:07 GMT
I know a member of the cast and they are over the moon that the theatre has the current no meeting the cast anywhere policy! That’s been one of the sources of arguments. No stage dooring but accusations that a select few are being allowed to meet Christina Bennington and Jordan Luke Gage after the show and someone has the photos to prove it (apparently). It’s all very childish and pathetic. But thats probably because the individuals involved seem to be pathetic children. Sadly CB seems to be another Carrie HF when it comes to her social media which can only encourage this sort of rancid behaviour. I can't lie... I'd never heard of Bennington until I saw it last weekend. Her reveal at the start of the show literally got screams and applause that rivalled Goldberg appearing on stage during her run as Mother Superior. Literally to the point it momentarily stopped the show. I thought it was because theatre has only recently reopened, but I guess not. I just don't get it. I genuinely thought it was the worst thing I've ever seen. Act 1 felt like it was never-ending.
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Post by anthony on Aug 8, 2021 14:58:28 GMT
Can't edit the above post, but on the lyric changes during the final lair, in the opening night audio uploaded to YouTube, Killian does sing "this is an unparalleled delight". I'm not sure why he decided to sing about it being a pleasure that Raoul has arrived during the matinee today instead. I'm glad that it seems to be him making it up as he goes along, rather than an official lyric change! "Let me see her" "Be my guest, Sir" has been changed to "Let me see her" "Well of course, Sir" so they are definitely making some lyric changes around that point. No idea why, though! He also sings "I have hardly dreamt we'd be so blessed" rather than "I had rather hoped that you would come". I wonder if there were a certain amount of changes they needed to make it consider it a brand new version of the show, so they're making random and minor lyrical changes? I notice in the lobby, it now says "Phantom of the Opera opened at Her Majesty's Theatre on 27th July 2021".
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Post by anthony on Aug 8, 2021 14:52:21 GMT
Thanks for the review. Are they still not tracking the candelabra during the title song? And is the transition to the title song still prolonged rather than using the doubles? Curious as those, coupled with the orchestra/design changes, are what's putting me off from attending. Cumulatively they amount to a dealbreaker for me...but if one changes I might reconsider. I was disappointed to see they've even cut corners on the costumes. Christine's bodice in the Masquerade dress for instance is just...what? What did she wear when you saw it? At yesterday's matinee she was wearing the dress from the previous production. No change there at all as far as I could see, actually. Correct - candelabra only rise and don't move after that. The transition was prolonged. You saw the dancers and madam Giry walk across the stage, whilst Raoul stopped and stared at them (It was a bit weird actually - he looked angry at Giry at that point, but seemingly for no reason? Perhaps he was meant to be looking for Christine within the ballet girls?)
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Post by anthony on Aug 7, 2021 22:25:14 GMT
Can't edit the above post, but on the lyric changes during the final lair, in the opening night audio uploaded to YouTube, Killian does sing "this is an unparalleled delight". I'm not sure why he decided to sing about it being a pleasure that Raoul has arrived during the matinee today instead. I'm glad that it seems to be him making it up as he goes along, rather than an official lyric change!
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Post by anthony on Aug 7, 2021 21:22:53 GMT
Eventually saw it. Before I go into the actual show, I have to say that I wasn't too happy about the experience of getting into the theatre...
So I live just outside of London, but my family live near the Scottish border. For my grandfather, he travelled to London specifically to see Phantom after wanting to see it for over 2 decades. He specifically wanted to see the chandelier rise. Him travelling down here was a big thing for him - he is anxious of travelling. The *moment* the overture started, we were upped from our seats for late comers. I know this can't be helped, but my near 80 year old grandfather naturally took a while to get up and out of the way for these people. I know late comers need to be admitted, but I'd argue that the *moment* the chandelier starts to rise is not a suitable moment, given the show we are seeing? Given the premium that certain seats in theatre attract for this moment alone. It also meant that I also missed pretty much the entirety of the overture, so I can't comment on that cool barrier moment everyone was talking about earlier, because I literally missed the entire thing. Equally, someone decided to go to the shop during the interval on our row (I am not joking...) and *MID-WAY* through Wishing You Were Somehow Here Again, we were upped for this person returning from the interval late. Just not really suitable... literally during the song.
In terms of lyrical changes, there were a couple which jumped out to me. Some made sense and others just seemed to be about making a change for the sake of it, rather than anything else? In 'Angel of Music', Meg used to say "Your face, Christine, it's white!", she now says "Christine, are you alright?". It obviously makes sense for this change to happen, although it sounds somewhat jarring as it doesn't 100% fit into the music. Raoul then had some new bits in 'Prima Donna' towards the end of the song. I couldn't work out what he was singing, other than it being about the audacity of Christine being given a silent role. During the final lair, when Raoul appears Phantom used to sing "Sir, this is indeed an unparalleled delight!" he now sings something along the lines of it being a pleasure that Raoul has arrived. Seemed like a silly change to me? One that I can't quite understand.
I actually like the horse at the end of Act 1... It looked really trashy at the start (although I think this owes largely to the set, which is almost painted in a comic book style? Doesn't match any other set piece at all). Once the horse moves to the front of the stage and turns around, it's actually quite large and genuinely looks physically impressive. Actually a little bit annoyed at how brilliant it looks, haha.
In terms of the band, the only time I noticed it being a bit thin was during Masquerade, in which the singers were literally drowning out the band. Other than that, I can't say I noticed it too much, if I'm honest. With lighting, it's just amazing. The manager's office scenes in particular really benefit from the new lighting. When Raoul jumps during the final lair, the switch between Phantom and Christine and him was just amazing? I can't really explain it. But it was almost magically and like I was watching a screen rather than stage? Just great.
In terms of the cast... I have to say, I wasn't a huge fan of the cast as a whole? Greg Castiglioni was brilliant at Piangi, but Saori Oda didn't really do it as Carlotta for me? Her timing was off - she literally didn't get a single laugh throughout the entire thing. I quite like Rhys' forcefulness as Raoul and he was probably the strongest in his role out of the trio. Killian and Lucy had some brilliant moments (their final lair genuinely made me tear up - Lucy plays it like she's chosen the Phantom and Raoul literally drags her away. It's a really interesting take on Christine that I haven't seen before - she clearly chose Phantom. Even in PONR, it's obvious she's made her mind up once she realises it's Phantom.) I've seen Phantom around 20 times and this was the first time I've ever seen it where the cast didn't get a standing ovation.
As a whole, I actually enjoyed it. Phans go in with an open mind and you'll enjoy it!
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Post by anthony on Aug 6, 2021 12:09:47 GMT
Is the spoken bit when the Phantom says his "sing for me"s on tape? "Sing for me" is live, leading into "I have brought you" which is all live. The pre-recorded parts in the show are (were?), all of the title track until it switches to live for "sing my angel of a music", but only live for the Phantom, Christine remains a prerecorded vocal. - the Phantom in Notes I/II - the Phantom at the end of Prima Donna - the Phantom in Il Muto - Christine: "we must go to the roof, we'll be safe there" - the Phantom's laugh in All I ask of you reprise - the Phantom in Seal my Fate Tonight - the Phantom in Why So Silent I think that's it. Was Why So Silent always pre-recorded? I only ask because I saw the German production in Essen about 13 years ago and Uwe Kroeger, who was playing the Phantom, messed up his lines. As a side note, someone has uploaded audios of the (re-)opening night performance onto YouTube for those interested.
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Post by anthony on Aug 1, 2021 11:19:18 GMT
How long is it taking to get into the theatre? I’ve seen pictures of queues around the theatre.
Going next week with an elderly relative (not my decision - IMO it’s too risky at the moment!). I’m concerned about him not being able to stand for so long outside, especially given the heat as apparently we will be in the middle of another heatwave…
Email says to arrive 30mins-1hour before curtain.
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Post by anthony on Jul 31, 2021 20:20:39 GMT
Over here I think Phantom on Broadway currently is regarded by regular or serious theatregoers as a tourist show or for diehard fans. It generally is not talked about unless some interesting casting occurs in the leads. I’d say much more esteemed in London. A handful of hardcore Phans aside, a true tourist trap in NYC. Like Chicago, plodding on forever in the lower half of the weekly published grosses. Must do better then break even I guess but keeping the record possibly a factor in them not putting it out of it’s misery. Desperately needs some TLC and decent resident direction. Did chuckle when people said they’d boycott London and only go in NYC now as they still have the “full” orchestra. Good luck being able to tell the difference over the talking/rustling/fumbling/eating! That’s one risky plane fare…. I just can't get over Christine falling to the floor at the end of 'Music of the Night' and the lower-quality version of 'Wandering Child' on Broadway...
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Post by anthony on Jul 31, 2021 17:56:26 GMT
So act 2 was much better.
Just want to give a shout out to the theatre manager who, during the interval, was going around to the maskless people and asking them to put masks on - few obliged. There were 13 masks in the whole of the royal circle. He then appeared on stage and asked everyone to put masks on prior to act 2, which seemed to work!
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Post by anthony on Jul 31, 2021 15:18:56 GMT
Currently at the matinee. Interval. Firstly I’ll be amazed if I make it out of here without Covid. There are very few masks. Secondly… this is honestly the worst thing I’ve ever seen. Act 1 goes on and on and on and on. I am shocked at its popularity when it’s so badly written
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Post by anthony on Jul 28, 2021 23:57:12 GMT
What exactly is shameful? People are allowed their own opinions - and hers, that people should comment when they've seen it and not be negative about changes made for safety reasons, isn't outlandish. People here have made the same observations over the last year or so. Yes, there's a potential problem with tone here, but the substance isn't problematic - certainly not enough to be fired for as at least one commentator suggested. Plus, she's in a far better position than the rest of us to know if the original creatives are spoken about in the rehearsal room / theatre. And I'm sure you realise yesterday would not have been her first day on the job. Yeah, not shameful at all for a representative of the show to say that people who aren't happy with the changes should "get laid".
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Post by anthony on Jul 27, 2021 23:42:45 GMT
The show felt much smoother tonight, fresher, modern. I wasn't a huge fan of the angel and quite like the horse - I enjoyed the way it pivoted around to the audience (and the audience seemed yo like it too). I'd recommend you go and see it to see what bits you like and the bits you don't - I've tried writing my comments with an open mind, including my disappointment that the reduction in orchestra is noticeable to me. Yet, another person felt it was barely noticeable and really liked it. Guess it comes down to taste. Many people around me (row C stalls) were diehard Phans, and they were animatedly discussing what they liked/didn't like at the interval and the end. My hunch is that this new production has won over some of those who were doubting how good it might be (and, bizarrely, left me feeling they didn't go far enough). There is plenty left of the original to satisfy even the harshest critics. So other than the replacement of the Angel, was there anything you preferred in terms of the production? I'm just trying to understand what everyone considered "dated" that is no longer the case. I mean, even the original production could (and did) feel fresher and smoother once the director's been in to check up on it. To be fair, the set was in terrible need of being re-created. A few years ago now, I had the misfortune of seeing David Shannon as The Phantom. I really disliked his performance (nothing against him personally or his voice - I just didn't like his Phantom.) This left me with some time to look around the theatre. Frankly, it was filthy. Shockingly dirty. The sets were dusty. Some peeling. It did look... old. But then, maybe that was part of the charm. Speaking of charm - is the chandelier still pushed off stage at the start and caught when it comes back down? << actually one of my favourite things about the show!
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Post by anthony on Jul 27, 2021 23:31:28 GMT
What did you you consider outdated and creaky that this production has now addressed? It sounds like, if anything, anything that anyone ever complained about was retained and bits people liked were axed. The show felt much smoother tonight, fresher, modern. I wasn't a huge fan of the angel and quite like the horse - I enjoyed the way it pivoted around to the audience (and the audience seemed yo like it too). I'd recommend you go and see it to see what bits you like and the bits you don't - I've tried writing my comments with an open mind, including my disappointment that the reduction in orchestra is noticeable to me. Yet, another person felt it was barely noticeable and really liked it. Guess it comes down to taste. Many people around me (row C stalls) were diehard Phans, and they were animatedly discussing what they liked/didn't like at the interval and the end. My hunch is that this new production has won over some of those who were doubting how good it might be (and, bizarrely, left me feeling they didn't go far enough). There is plenty left of the original to satisfy even the harshest critics. I think that if they were honest about their approach from the start, whilst people would still be angry, it would be more understandable. Instead, they have continuously spouted that this is the "brilliant original". Webber himself has said countless times it would be "the brilliant original" and implying only technological changes and the re-production of the same sets (which, to be fair, was sorely needed.) However, this was all clearly lies... and the fact that the official social media of the show leave "the brilliant original" in their bio UNTIL THE NIGHT OF THE SHOW, only to remove it after the curtain falls. It's just... Yeah. People should be angry. And even doing things like putting the original chandelier outside of the theatre, days before reopening, which got fans on social media excited because it looked like the chandelier was staying the same... only for the chandelier to be different and for it to be nothing more than a publicity stunt? The whole way they've went about it is just weird.
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Post by anthony on Jul 27, 2021 23:13:04 GMT
So, Phantom's official Twitter has removed 'The Brilliant Original' from it's bio. I guess at least they're sort of acknowledging it...
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Post by anthony on Jul 27, 2021 23:07:48 GMT
"I would maintain the once again the proscenium design - the picture frame - is key to the show. Its magnificently carved gilt figures erotically entwined. And when it is revealed after the prologue, I don't believe the audience examines it, but I'm certain that it casts a heavy erotic atmosphere over the entire show" - Hal Price in his 2017 memoir. This ain't a tribute to Prince, it's the opposite. Given that he died less than a year prior to theatre closures, it can't help but make you feel that those involved with these decisions started planning the moment his death was announced.
Grim.
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Post by anthony on Jul 27, 2021 23:02:10 GMT
You know, the thing which annoys me most is Piangi's sudden realisation that he's gay. I can sort of understand the changing of the set and the trimming down of the orchestra (although I completely disagree with it!), but changing elements of the plot?!?!?!? I assume that means there must be subtle lyric changes too?
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Post by anthony on Jul 27, 2021 22:45:51 GMT
On the train home it’s been an interesting night at Her Majesty’s. I’ve been lurking on the board for years, and feel compelled to write after observing the angst of this thread for the past 18 months, I’ve seen the show numerous times over the year and enjoyed it tonight was I believe, my 7th time. This review will be disjointed I imagine. SPOILERS AHEAD as I’m not technically minded enough to add the spoiler tags!! The elephant in the room (or should that be horse?!) is that the pros. does look naff. There’s no other way to put it. It looks like the decorators have started well and then got bored as they’ve moved down to the bottom. Did this put me off before it started? No. Although those dubious bits of rag “covering” it..?- let’s say no more about that! The show was Almost 10 minutes late of going up - Cameron came on and did a very coy speech and welcomed us to “the new version of phantom”. There was a chandelier. It rose. The audience clapped. It’s a new one. And looks better than the old. The naff pyros are still there. I thought the new bits of scenery looked great during the overture. THE GOOD Quite rightly, it looks fresh (finally). The last time I saw it you could see the dust sitting on so I’m delighted that it looks better. And for 90% of it, it looks no different and sounds no different. For the purists, the travelator is still there, the candles still rise, as do the candelabras (albeit not tracking!) the trap doors are still there and phantom still disappears at the end of masquerade. Killian Donnelly as The Phantom was terrific. I wasn’t sure at first but was converted by the end. The orchestra played well and I thought the sound was fabulous. Shoot me down in flames but there’s not that much difference of orchestration REALLY, it doesn’t sound thin, as the fearmongers forecast. THE BAD I thought the casting on the whole was bang average. Everybody was servicable, the crowd whooped and cheered as it seems to have become custom - but in all honesty I didn’t think much of any of the principals apart from The Phantom. There was plenty of scenery chewing to be had, namely after the hanging, and either Andre or Firmin (the one who looked a bit like him off homes under the hammer) did his one man comedy routine which wouldn’t have looked out of place in Hi-De-Hi. Very strange. I’ve always thought that Meg was a bit of a non-role - and the business at the end with the mask I’ve always found over indulgent (shoot me!) I don’t know what was different this time but I cared even less for megs character than I have done before. (Sorry Meg!) Back to the scenery - It’s like they’ve kept everything naff from the old version and decided to pay homage (with the exception of the thunderbolts!!) The skull on the stick that shoots flames, the self playing piano, those flamin’ mannequins in masquerade, the noose on the bit of fishing wire, the clunky magic chair. All still there in all their former glory. The rooftop scene I thought was the worst of the “new” - it just doesn’t have the finesse of the version 1.0. The clouds still roll by though and look gorgeous and yes, the Angel is gone but as I always say - why have a flying Angel, when you can have the phantom wheel downstage on a mechanical horse??! Say no more. All of the phantom interactions during “poor fool” was all a bit eggy. A light on some sort of owl in the prosc didn’t quite cut the mustard (although I did titter). There was a very tense moment where I thought the chandelier wasn’t going to drop - But it did. I could go on, but to summarise. I had a really lovely evening and the show will settle and to the general public, it will be marvellous as it always was. I just felt a bit frustrated as all the things that the creative team COULD have done, as they’ve clearly spent some money bringing it into town - why not make the old naff bits I’ve mentioned - well, less naff! For me, what has brought me back to phantom time and time again is the stagecraft of the entire piece. You still get the moments where you think, “where did that come from” which all stems back to how extraordinary the original designs were. Whilst the cut backs are frustrating and to some may seem a sin - somebody, somewhere will have worked out how much money it would cost to remount the original over bringing this new verison in - they probably also looked to see if it was indeed financially viable to bring it back at all. We all have our memories of the “brilliant original” but given the choice of having this verison or no Phantom at all - I’d much rather we have Phantom 2.0 so that the next generation can be inspired by it for however long it may run. See it. Support It. But most of all, enjoy it! Wait... what's this about a horse? Is it as bad as it sounds? :S
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