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Post by oldstager on Mar 30, 2022 10:45:05 GMT
re. all this speculation about a 5 year run. The first West End production (at the Palace) starring Judi Dench ran for 6 months. It was due to extend with Elizabeth Seal taking over as Sally Bowles but towards the end of Judi's run there was a very small advance and the producers pulled the show when JD left and Liz S never opened. So that production did just over 200 performances (the original Broadway run was over the 1,000 mark). I know the Kenwright transfer was recast and extended but, on the whole, this show has never been big box office in London. Thanks to the movie I suspect it now also has the expectation that it will only work with a name to match Liza Minnelli (even half a century since its release). It will be interesting to see how this latest interpretation will survive.
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Post by oldstager on Jun 7, 2019 10:29:14 GMT
The Piccadilly seems to be a new home for plays in the West End. It always used to be - Robert Bolt's VIVAT VIVAT REGINA, the first revival of Stoppard's ROSENCRANTZ & G, Willy Russell's EDUCATING RITA (transfer from RSC), Peter Nichols PRIVATES ON PARADE, RSC's ONCE IN A LIFETIME etc.etc. In the last century straight plays outnumbered musicals in this venue. From the 1970's onwards it was almost a 50/50 split. It is a perfect house acoustically and none of those straight plays were ever "miked" - also perfect sightlines. But its relatively large capacity has made it a useful space for musicals with box office potential. The Phoenix and Savoy are also venues that housed straight plays and musicals in equal proportion.
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Post by oldstager on Oct 7, 2018 15:13:54 GMT
I just remember the character being very bland which in my extreme(!) youth I may have blamed Mr.Jones for - as I said I found some subsequent Bobbies equally dull. I do remember that the theatre gossip in NYC at the time was that either Prince or Sondheim never really like him in the role and I know he did leave the cast early (I will try asking some other "veterans" of the time if they remember the details) and he was replaced by Larry Kert who was considered to be a better singer but I thought was really "wooden" as an actor. Seeing it again the other night rekindled so many memories of those early days and the stories surrounding them and my own experience of sitting bewitched in a very empty Winter Garden Theatre watching that original knockout production of FOLLIES (with Yvonne De Carlo one of my movie obsessed schoolboy crushes dazzling me with I'M STILL HERE). Then later Lansbury and Hearn in SWEENEY TODD and Carol Burnett in PUTTING IT TOGETHER etc. Such joyous nights in the theatre.
OK - I was very lucky to see Dean Jones as it appears he left after only four weeks of regular performances (i.e. after press night) and Larry Kert who was his 1st cover took over for the rest of the run. Apparently after he had done the album (recorded during previews I think) Kert wanted to leave because he was under mental stress and the official line was that Prince asked him to stay and play the press night and for the first few weeks. Kert was already a Broadway name (Tony in WEST SIDE STORY) so it would explain why he was the cover if he knew he was definitely taking over. I was also reminded that when Elaine Stritch left the cast 'Joanne' was played by Vivian Blaine ('Adelaide' in the original Broadway cast and the movie of GUYS & DOLLS and by the legend that was Jane Russell. Searching through my diaries to see where in the World I was in 1971. How did I miss that one?! Sorry - I meant Jones wanted to leave of course. SENILE Old Stager!
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Post by oldstager on Oct 7, 2018 15:11:03 GMT
A little jealous you saw Dean Jones. I've always considered the documentary footage of Sondheim directing him singing "Being Alive," for the cast recording, while Elaine Stritch and the cast will him on from the sidelines, to be the definitive performance of that song. Was he really "dull" in his live performance? If you have any specific recollections of Dean Jones in the role, I'd love to hear them. I just remember the character being very bland which in my extreme(!) youth I may have blamed Mr.Jones for - as I said I found some subsequent Bobbies equally dull. I do remember that the theatre gossip in NYC at the time was that either Prince or Sondheim never really like him in the role and I know he did leave the cast early (I will try asking some other "veterans" of the time if they remember the details) and he was replaced by Larry Kert who was considered to be a better singer but I thought was really "wooden" as an actor. Seeing it again the other night rekindled so many memories of those early days and the stories surrounding them and my own experience of sitting bewitched in a very empty Winter Garden Theatre watching that original knockout production of FOLLIES (with Yvonne De Carlo one of my movie obsessed schoolboy crushes dazzling me with I'M STILL HERE). Then later Lansbury and Hearn in SWEENEY TODD and Carol Burnett in PUTTING IT TOGETHER etc. Such joyous nights in the theatre.
OK - I was very lucky to see Dean Jones as it appears he left after only four weeks of regular performances (i.e. after press night) and Larry Kert who was his 1st cover took over for the rest of the run. Apparently after he had done the album (recorded during previews I think) Kert wanted to leave because he was under mental stress and the official line was that Prince asked him to stay and play the press night and for the first few weeks. Kert was already a Broadway name (Tony in WEST SIDE STORY) so it would explain why he was the cover if he knew he was definitely taking over. I was also reminded that when Elaine Stritch left the cast 'Joanne' was played by Vivian Blaine ('Adelaide' in the original Broadway cast and the movie of GUYS & DOLLS and by the legend that was Jane Russell. Searching through my diaries to see where in the World I was in 1971. How did I miss that one?!
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Post by oldstager on Oct 6, 2018 22:30:29 GMT
saw the original with Dean Jones and his replacement Larry Kert then later Raul Esparza in NYC and Adrian Lester in London. As they were all rather dull in the same role I had decided it was a lousy part. A little jealous you saw Dean Jones. I've always considered the documentary footage of Sondheim directing him singing "Being Alive," for the cast recording, while Elaine Stritch and the cast will him on from the sidelines, to be the definitive performance of that song. Was he really "dull" in his live performance? If you have any specific recollections of Dean Jones in the role, I'd love to hear them. I just remember the character being very bland which in my extreme(!) youth I may have blamed Mr.Jones for - as I said I found some subsequent Bobbies equally dull. I do remember that the theatre gossip in NYC at the time was that either Prince or Sondheim never really like him in the role and I know he did leave the cast early (I will try asking some other "veterans" of the time if they remember the details) and he was replaced by Larry Kert who was considered to be a better singer but I thought was really "wooden" as an actor. Seeing it again the other night rekindled so many memories of those early days and the stories surrounding them and my own experience of sitting bewitched in a very empty Winter Garden Theatre watching that original knockout production of FOLLIES (with Yvonne De Carlo one of my movie obsessed schoolboy crushes dazzling me with I'M STILL HERE). Then later Lansbury and Hearn in SWEENEY TODD and Carol Burnett in PUTTING IT TOGETHER etc. Such joyous nights in the theatre.
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Post by oldstager on Oct 6, 2018 12:19:18 GMT
Hi lovely people! I was just wondering if anyone could confirm if understudies are listed in the programme and, if so, who they are? Many thanks. 😇 Andy/PJ/Theo:MICHAEL COLBOURNE Joanne/Sarah:FRANCESCA ELLIS David/Harry/Larry:GRANT NEAL Paul/Peter/Jamie:EWAN GILLIES Jenny/Susan:JAIMIE PRUDEN All the above play several non-speaking roles in the ensemble. No standby or understudy for "Bobbi" listed in the programme
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Post by oldstager on Oct 5, 2018 10:22:46 GMT
I seem to have been "collecting" COMPANY productions for nearly half a century and more specifically "Bobbies" - saw the original with Dean Jones and his replacement Larry Kert then later Raul Esparza in NYC and Adrian Lester in London. As they were all rather dull in the same role I had decided it was a lousy part. And then I saw Neil Patrick Harris in the semi staged New York Philharmonic version and suddenly the character was interesting and appealing. But last night I am afraid the gender swap left me cold as, try as hard as I did, I just couldn't find anything "special" about Ms. Craig. In her defence the main element that jars in the g swap is the music - those songs were not written for a female voice and that's a fact. The book has always been a problem with this show and has become more so over the years. It was pre FRIENDS and since that breakthrough tv series we expect all New Yorkers to sound wittier and more cutting than George Furth's creations. Isn't it interesting that they only speak with real wit and originality when using Sondheim's lyrics? The pedestrian book is not helped by this busy scene changing production and the addition of laboured and lengthy slapstick jokes. I thought Patti was the only completely convincing presence on the stage and, no doubt aware of how iconic Stritch's version of THE LADIES WHO LUNCH was, she gave a new and thoroughly authentic interpretation which was genuinely thrilling. I am a great fan of Ms. Elliott's work usually so this was a huge disappointment and I honestly did try to forget Harold Prince's sleek and clever original staging. But I don't think that first production was ever considered to be a commercial success in either NYC or London so it will be interesting to see if this much broader approach will pay off. Different times after all and maybe there will be a large younger crowd who will love it. I am just going to have to accept my old fogey status and cling to my happy memories of my own good old days - after these will be their good old days eventually.
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Post by oldstager on Sept 6, 2018 11:50:37 GMT
After touring in the USA for two years this fascinating "play" was a hit on the Edinburgh Fringe and is now playing at the Soho Theatre until October 13.A truly original piece of theatre created by its two performers it is a challenging hour for the actors and the audience. It is deliberately shocking in its content - politically and sexually - and, at times, a very uncomfortable experience. (WARNING: some audience participation unavoidable). It is unlike anything else on the scene at the moment and worth a visit if you're in the mood for a challenge.
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Post by oldstager on Sept 3, 2018 21:03:03 GMT
I am rather shocked by the negative reaction to this play here. I loved it. The writing is beautiful and the acting is sublime. I laughed and I cried and 90 minutes flew by. Yes, the specifics are American but the general theme is international - the way many (probably the majority) of families function - the heartbreaking ways we screw up our kids lives with only the best of intentions - the devastating way our children have to make their own mistakes as we look on helplessly. And, of course, so many other topics and themes are touched on and treated with humour and sadness and despair. This little play will stay with me for a long time I know. And the majority of tonight's Hampstead audience seemed to tune in to the style very quickly and laughed and reacted vociferously. The cast were visibly delighted by the warm and vocally appreciative reception at curtain call.
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Post by oldstager on Aug 27, 2018 16:45:18 GMT
Sorry to go off track a bit, does anyone know the cost of a programme? Spent nearly all my money today! Programmes are £5
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Post by oldstager on Aug 23, 2018 15:28:20 GMT
No, not sure why you'd ask that? She understandably only does certain performances a week it seems (no-one's quite sure of the schedule or whether it is even fixed), but she's due to complete the run if she wishes to do so. It just seemed that the only reports about her performing were in early August when they filmed the show. Wasn't her first or second show the first performance they filmed? She had been playing for a full week before they started filming performances,
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Post by oldstager on Aug 6, 2018 22:12:20 GMT
For what it's worth, today's New York Post reports (https://nypost.com/2018/08/04/tony-award-winner-returns-to-stage-after-tragic-park-slope-crash/) that Ruthie Ann Miles will be in the show "through Sept. 29". No details on which performances she will be in. Filming the show tonight. Pretty full-on - 7 cameras in the stalls and a rather distracting drone like device operated from the boxes. What an extraordinary production: I thought all the women were terrific and all the men terrible. Kelli O'Hara is real "class" and I doubt if ANNA has ever been better sung. "Hello Young Lovers" was the highlight for me. Ruthie Ann Miles is magnificent with such poise and control and underplaying beautifully. Na-Young Yeon very strong too. But as for those guys - Dean John-Wilson had an unfortunate likeness to Peter Andre which in itself was rather off putting and that music theatre school vibrato is totally unsuited to this score. I found Ken Watanabe totally inept. Surtitles are required - especially for "A Puzzlement" which was incomprehensible. I spent the evening fondly remembering Yul Brynner on that same stage (a few decades ago) - he had amazing presence and he got all the laughs by merely raising an eyebrow or with the most subtle "take". Mr. Watanabe looks like something out of The Muppet Show and has no grace or dignity. I remember the entire audience were deeply moved by the final scene thanks to Brynner's superb underplaying. Tonight the audience were on the verge of confused laughter rather than tears. Of course it's worth seeing for those lovely ladies and to hear that magnificent score again but, oh, how I missed the legend that was Yul Brynner. As I have said on here before - one of the (many) drawbacks of old age is that one has such cherished memories by which to measure current productions.
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Post by oldstager on Jul 23, 2018 10:20:06 GMT
Perhaps it was because I was feeling a bit tired and ill when I saw this on Friday, but I really enjoyed it. You could probably punch all sorts of holes in it, but in my slightly zombied state it washed over me extremely pleasantly - I found it funny and entertaining, I liked the break out into song and dance (I like that sort of non-realistic approach to theatre in general) and I thought it added to the humanity of the characters. There were probably too many people on stage and the end bit when the doc is addressing the audience was a bit self-indulgent - we all know what you think, Alan, this is a play not a soapbox... But in general it was a great entertaining evening out, and Deborah Findlay was fabulous. I appreciate the wide range of reactions to this - obviously the positive ones being of the opposite opinion to mine. It is now nearly two weeks since I saw it and I am still wondering why I was so disappointed. I think it's my age! I remember clearly (indeed I was actually in it) Peter Nichols' brilliant THE NATIONAL HEALTH circa 1970. He made all the same points but with more insight and acuity. Of course it was wider ranging and didn't focus on geriatrics. And there you have it - I think a timely revival of that little masterpiece would have had more relevance than AB's typically whimsical new effort. That one also ended with a big musical number - but it was brilliantly staged, was an original song and it was the only time the cast "burst into song" so was more effective. Anyway - that's the view of an old fart who, happily, didn't recognise himself in any of Bennett's characters!
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Post by oldstager on Jul 11, 2018 22:40:57 GMT
A very disappointing evening. The play has no real structure or focus. A series of short (television style) scenes, some rather embarrassing musical numbers and a few fairly funny but predictable jokes. Jeff Rawle and Gwen Taylor inject some quality into the acting but everybody else declaims their lines. Some of the dialogue scenes felt like a first read-through. Of course the pace may pick up over the next few performances but the play itself needs drastic cuts in a long first act - the only bit of plot advancement comes immediately before the interval. The direction is flaccid and the cavernous set destroys any sense of intimacy or, indeed, reality. Given the involvement of such fine artists as Bennett, Hytner and Crowley the whole thing feels shockingly am-dram. Bennett's target is clearly Jeremy Hunt and his ilk but it's too easy and there is no sense of depth or insight in the argument. A dramatic, comedic look at the NHS today should be an interesting piece of theatre but, alas, this play is DOA.
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Post by oldstager on Jul 8, 2018 15:45:39 GMT
At CONSENT the other night a lady in the front stalls who was "whispering" fairly loudly throughout announced at the end of one of Stephen Campbell Moore's speeches: "He's Maggie Smith's son." In truth neither he nor Toby Stephens should take offence - a very good actor being mistaken for another very good actor isn't the worst thing that could happen to a thespian.
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Post by oldstager on Jun 29, 2018 13:49:02 GMT
or had Kenneth Branagh getting his cock out When did Kenny get his cock out at the NT?? Presumably it was before my theatre-going time - I'm sure I would have remembered that.... That would be EDMOND in 2003 I seem to remember
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Post by oldstager on May 22, 2018 23:03:48 GMT
Beautifully acted by the entire cast and direction and design are terrific too. I hope this finds its audience which may be wider than some think. Tonight there was a good mix of ages and nationalities in a fairly full house which augurs well. Strong word of mouth should ensure a very successful season. An evening of real "quality".
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Post by oldstager on Nov 19, 2017 11:27:33 GMT
What a sad mess Blackpool turned out to be. This whole series feels like the format has reached its "Sell By" date. The lack of a level playing field is the downfall: Some trained dancers (granted not in ballroom), some first time dancers and one guy with an actual disability. How is this a fair competition? And how telling that the further away the style gets from actual ballroom the less interesting it becomes. All the pro group dances now resemble not very imaginative pop videos. Shirley tries to instil some basic rules and standards but then she gets carried away by her desire to be a "personality" in her own right and overpraises and overmarks in such a way as to destroy her own credibility. Tess has an air of desperation about her and God help us if the autocue machine ever breaks down. The delightful Claudia is visibly struggling now to retain her own interest let alone the viewers'. Talking of whom it's hard to imagine that anyone cares who wins this year.
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Post by oldstager on Oct 1, 2017 14:17:17 GMT
Unlike some posters I thought this was superior in every way to the overrated "Moonlight". It was painfully honest and believable and beautifully acted and directed throughout. My interest and involvement never faltered. The bleakness never felt forced and the understatement and economic use of dialogue added to the emotional impact of the movie. There is a strong case for expression of drama in film without the use of words - that is, after all, how the medium was first used. And there are occasions in both life and art where mere words are inadequate. As a character in an early Alan Bennett play once said; "Words fail me. But then they often do". I await the DVD release so that I can watch it again whenever I need a reminder of the power of a truly visual medium when used properly.
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Post by oldstager on Sept 30, 2017 9:49:20 GMT
May I respectfully remind everybody that the original London Sally Bowles was Judi Dench. This is the benchmark for older board members. Mrs.Redknapp wouldn't even be considered for an understudy in that Harold Prince/definitive production. And Barry Dennen (the original London MC) died earlier this week. The memory of that performance also puts Mr. Young's rather perfunctory presence into perspective. I feel envious of the younger audiences who can go to see these revivals unhampered by memories of performances and productions which are indelibly carved on our older hearts and minds.
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Post by oldstager on Sept 25, 2017 22:33:58 GMT
Very well written and very imaginative staged. Richard Coyle is excellent and truthful but Bertie Carvel is less so. And there is a lack of chemistry between them and the rest of the cast, although fine individually, don't create the feeling of a true ensemble unlike the entire company of The Ferryman who seem to actually breathe as one. An enjoyable evening nevertheless.
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Post by oldstager on Sept 10, 2017 11:55:34 GMT
Groundhog Day was one of the best musicals in London last year so I would welcome it bak in a heartbeat over some shows currently running! THE best musical last year for me. It sounds as if the Broadway production not only had more initial technical problems than the Old Vic one but seemed to lack some of the impact too. I don't think its relative failure in NYC should influence a British audience too much and clever marketing and casting (LOVED Andy Karl but there are other contenders - both British and American - who would draw bigger crowds) could help it take up from where it left off in London last year. Above all the venue is CRUCIAL - just think how much more successful both artistically and commercially AN AMERICAN IN PARIS would be if only it was playing at the Savoy.
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Post by oldstager on Sept 2, 2017 10:42:44 GMT
Mr.Kenwright is also advertising it as the British Premiere - which it isn't! It was staged originally at the Edinburgh Royal Lyceum Theatre in 1981 with a cast including William Lucas, Jan Harvey, Andrew Crawford and Jane Lowe and directed by Leslie Lawton. Maybe Mr.K means "English" Premiere!!!
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Post by oldstager on Sept 1, 2017 21:47:44 GMT
All the comments on here re. the current production are fascinating. I saw the original Hal Prince version on Broadway (Winter Garden) in 1972 and found it totally original and thrilling. But even then I was aware that it wasn't a total success. I was partly involved in the 1987 London production which had a very strong cast (well, casts really, as several of the principles changed half way through the run) but, once again, was not really a bone fide hit. I now realise that the most enjoyable version was the partly staged New York concert (still available on DVD) with the best cast it has ever had including Barbara Cook, Elaine Stritch, Mandy Patinkin, Lee Remick and Carol Burnett. The numbers were beautifully sung and minimally but smartly staged and the actual book was cut severely. And I now realise that was the reason I enjoyed it the most of all the productions I have seen. Sondheim is seen here at his witty, inventive best but the actual dialogue linking the numbers just doesn't add up to a solid dramatic structure. You can throw as much spectacle and clever staging at it as you can afford (as Hal Prince did originally) but there is still no weighty text or story to drive the evening along. There - it's taken me 45 years to work that out!
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Post by oldstager on Aug 31, 2017 12:41:46 GMT
Considine's departure shouldn't have much impact on the box office. The author is a proven draw (JERUSALEM established him as that) and the universally rave reviews were responsible for the continued good business after the sellout Royal Court run. But, of course, after the now customary 13-16 weeks in a theatre with the Gielgud's capacity availability may improve from November onwards.
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