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Post by ali973 on Nov 25, 2023 20:52:16 GMT
I walked out at intermission. I thought it was the lowest common denominator kind of humor, where you could guess the joke and punchline so far in advance. It's a show for Gad/Rennells fans, and it offers nothing if you don't care for them (I don't, especially Gad).
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Post by ali973 on Sept 24, 2021 14:55:47 GMT
I love it.
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Post by ali973 on Sept 24, 2021 14:55:12 GMT
It's a hard sell as a West End show. It's so NY-focused, and it was pretty much a star vehicle for Idina Menzel who is a much bigger star than Kerry is, and was running during Idina's peak fame..and it still tanked. The score is good enough I think, and the though the story and plot are weak, it's a compelling theme for a formidable leading lady of that generation. Though I like Kerry and would see her in things, I don't think she's got the Idina-level charisma or box office draw to make this work. Her vocals were her best attribute, and though she can still carry a tune, I don't think she has the same vocal prowess she possessed even five years ago. It should be a concert/staged concert or regional tour a la Wonderland, which means it will also close too soon because..no one cares. As far as Broadway is concerned, Brits love light American musical comedies like Hairspray, Legally Blonde, or Kinky Boots. They wouldn't know what to do with an If/Then experimental mainstream pop musical theatre which was a hit or miss to begin with. I also don't think that following Idina's footsteps in every role under the sun is a good career move. This is not a must-do role, or a staple of musical theatre. The comparison will be invevitable. A better move for Kerry would be to play Heidi Hansen and just sing the crap out of Good For You.
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Post by ali973 on Sept 9, 2021 19:40:08 GMT
The trailer of the Netflix recording is out and it's hysterical Hush your mouth now. It's the level of camp I need in my life.
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Post by ali973 on May 19, 2021 7:12:30 GMT
Y'all are so starved for theatre content to think this bland trailer is any good. And are we really not going to talk about how Ben Platt looks like my aunt if she was a lesbian in the '80s?
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Post by ali973 on May 13, 2021 16:47:35 GMT
It's true. I know someone from the management side who is attached. Is it going into town or out on tour? Just on tour as I understand.
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Post by ali973 on May 13, 2021 16:44:16 GMT
TheatreFanOffical (aka Sean Tossell) made a post on his page that shows a skyline and an angel emoji. I guess he was hinting at COA.
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Post by ali973 on May 13, 2021 16:40:27 GMT
It's true. I know someone from the management side who is attached.
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Post by ali973 on Apr 20, 2021 2:02:58 GMT
I think it's slightly weird and invasive to transcribe someone else's emails and then release them to damage their career. I don't support the behaviour of the big "untouchable" producers like Rudin who think they can do what they like, but I don't want to shoot down those who perhaps got their careers because of him and are caught in an awkward place. Rob Roth email shows that he enables harmful, violent and abusive behavior. Anyone who approves of this behavior is a danger to his own team, should not be in a leadership position, and must be stopped. Whoever leaked this, I understand part of the industry, protected their colleagues who could have been harmed by Rob's tolerance for abuse.
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Post by ali973 on Mar 24, 2021 11:24:54 GMT
They should've just recorded the London revival cast and released that. Everyone in it was sublime, I can't see it being bettered. I can still see Richard Fleeshman if I shut my eyes tight enough. Oh but I disagree. They had a good show in London but had a spectacular production on Broadway. Everyone in the cast - save Jonathan Bailey - was so much better. The physical production was also improved.
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Post by ali973 on Jan 8, 2021 5:39:01 GMT
What kind of BS shows have you been seeing if Mean Girls is the best show you've seen?
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Post by ali973 on Dec 27, 2020 9:15:48 GMT
You mean in the UK? It's a bit more common in the USA in major cities outside of the New York area. Phantom had a long sit-down in LA once upon a time, and so did Wicked. Chicago had sit-down productions of Hamilton, Wicked and Billy Elliot.
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Post by ali973 on Dec 13, 2020 9:41:31 GMT
No, it's inspired and progressive, which is what makes this show relevant. They can hide their heads in the sand and pretend it doesn't exist (like you would like to), but theatre is an agent of change and create great apathy and stay current. Well done.
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Post by ali973 on Dec 11, 2020 23:13:20 GMT
Can a show have too much exposure before it even opens? If so this is it. Is it still the same plot where the princes fall in love with each other I wonder. I am sick of Carrie and ALW. And it does not even open for 5 months. The 2 songs I have heard are only meh for me. That's a lot of different things. I'll try to break them down: Considering who's behind it and the fact that it's a major West End musical with a healthy marketing budget, I'd say they're doing what any producer would do to build awareness and engage with potential audience. A basic social media campaign, a TV appearance and two singles is not unusual these days for shows that are five months out. I It's apparently not the same plot. Many people don't like ALW or Carrie. I'm not a fanatic, but I can't say that ALW hasn't had a huge impact on my life as a theatre lover. I saw Carrie in Les Mis and Heathers, and she's a talented performer. She wants it, she worked for it, she has the goods for it and it's her time. You go girl.
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Post by ali973 on Dec 11, 2020 20:05:11 GMT
It's a nice tune. Sounds like a mashup of "Perspective" from Woman In White and "There Is More To Love" from Aspects of Love.
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Post by ali973 on Dec 5, 2020 17:18:55 GMT
I downloaded bits of it today. I don't know..I thought it was pretty bland for the most part and everyone sounded like they were sight reading.
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Post by ali973 on Dec 5, 2020 14:40:08 GMT
Is anyone watching or going to watch this show. I’ve booked for the 5th of June. So excited. Haven’t seen Arinze Kene in shows does anyone know what he is like? I also wonder if we will have 2 people playing him like how Tina the role is shared. He's got an amazing upper body.
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Post by ali973 on Dec 3, 2020 17:52:41 GMT
I tried listening to The Boy In The Dress. It sounds like it was spat out by a simulator.
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Post by ali973 on Nov 6, 2020 9:43:24 GMT
Hi!
I'm trying to put together a list of up and coming women and female-identifying directors, co-director or dramaturg from the UK, preferably with musical theatre experience. The only ones I can think of who have done shows in a West End and off-West End capacity are Lucy Moss and Bronagh Lagan. There's Irene Philips, though she's far more advanced in her career. Can anyone recommend others?
Thanks!
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Post by ali973 on Oct 30, 2020 16:35:31 GMT
There's a bit of in my own little corner somewhere in there. He can still write a tune if he puts his mind to it, but he's trying way too hard to be relevant.
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Post by ali973 on Oct 30, 2020 16:32:31 GMT
Seriously disappointed with this choice. Aside from being completely tone-deaf, it just seems to be a show geared towards the demographic and generation that is going to be the last to come back to the theatre.
Re other properties. They were developing an Amy Winehouse musical. I wonder if that will count as a well known show. It'll probably be War Horse, Legally Blonde, Spamalot, Rocky Horror Show, Guys and Dolls, Rock of Ages, Wedding Singer.
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Post by ali973 on Jul 4, 2020 11:44:27 GMT
I was really hoping that when we all come out of lockdown this bloody show wouldn't exist anymore. And I really don't to hear Stars and the bloody Moon sung ever again at a cabaret, recital, piano bar or audition.
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Post by ali973 on Jun 22, 2020 13:48:20 GMT
For those of you who have seen the new UK tour, what are the minor changes they've done that make it different from the London version? All I recall seeing from photos is a gargoyle at the rooftop where the Phantom appears from there instead of the proscenium. Thanks!
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Post by ali973 on Jun 19, 2020 15:17:11 GMT
Probably worth establishing where EXACTLY this “rumour” came from before investing in having a strong opinion on it either way. What’s the source? You can't press people to reveal their sources when it comes to rumors. The whole point is not to throw the sources under the bus. Regardless of the validity or truth, Shaun is doing the Lord's work, has a great track record and does not normally sensationalize or pull things out of his butt.
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Post by ali973 on Jun 19, 2020 14:55:57 GMT
Just to be clear, this will be the new version of the original production, NOT the Laurence Connor production. The one that was touring the UK?
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Post by ali973 on Jun 19, 2020 3:40:26 GMT
Why DID Sunset close? On Broadway and West End? They weren't covering their weekly operating costs. ie they were losing more money than they were making.
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Post by ali973 on Jun 19, 2020 3:18:57 GMT
Sheridan or Jenna Russell as Eliza? 🤣 You joke, but sometimes London casting director have no sense of humor. And not Lara Pulver or Laura Pitt Pulford, either. Sometimes I'm convinced they're the same person.
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Post by ali973 on Jun 18, 2020 5:00:12 GMT
with the ability to record and release being so much easier and cheaper, it's kind of shocking how they rarely update these scores. When Sunset first opened on Broadway, the revival of Grease was playing on Broadway and they had something like three releases of their cast recording with each major cast change (just re-used the orchestrations) and the speculation was that "we would have a shelf full of Normas". Sadly that never happened. Would've most definitely had loved Betty Buckley, Debra Byrne (Australia - the clips of her are amazing), Rita Moreno (the shortest tenured Norma who filled in I think when Betty was sick before Elaine Paige stepped in)... eh... who said we needed new ways to dream? these are old dreams Whatever Sunset cast recording "market" there was, it was for the divas who replaced each other and not for an entire cast recording. I would think there's also a lot of royalties and fees that would have sky-rocketed if this was a full cast recording with the entire cast. It makes sense why the performances of the leading ladies was commemorated either on their own solo recordings (which were sold at the theatres) or in the form of a Sunset Blvd EP. This luckily gave us recordings of Betty Buckley (as EP and solo recording) and Debra Byrne (solo recording and non-commercial promo recording with Hugh Jackman). Rita stepped in for Petula Clark when Clark was on holiday. The plan was for her to replace Clark when Clark was to replace Elaine Paige on Broadway, but the shows closed on both sides of the Atlantic.
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Post by ali973 on Jun 17, 2020 7:00:50 GMT
I saw it when I was in college with the original cast. Heather Headley was a force to be reckoned with. The score is terrific (great treadmill music, btw), the concept was fabulous, and it was incredibly fresh and original back in the day. I didn't really take much notice of the book back then, but having seen bits and bobs recently on YouTube, it seems pretty clunky and cringe. It could use a bit of a new pair of eyes. There's a bit of white-redemption, white savior complex AND magical blackness going on around here. It could easily go haywire and be outdated if not treated with someone who is in touch with the cultural shift we're experiencing right now. Appointing Schelle Williams as director was the right thing to do from the get-go. I echo viserys when it comes to the casting of Danielle Steers. There's no point in casting sub-par singers in this show. I also think that a West End premiere, though possible, is in no way certain at all. It was announced and confirmed for Papermill prior to a US tour. And if that kind of programming is off the table, I would not hold my breath for an off the cuff remark from an interview. It seems to be confirmed that Germany is going to be the premier. I'd focus on where in Germany as a next milestone instead of holding my breath for London news.
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Post by ali973 on Jun 15, 2020 6:33:31 GMT
There's absolutely no proof whatsoever (in fact, the contrary) that bootlegs harm ticket sales. Not only do the numbers don't stack up, but people who'd seek and watch bootlegs are repeat attenders and who'd see the show live (perhaps repeatedly) if they are able to. This is not even an "accessibility" case that I'm trying to make, it's just stupid to actually believe that a regular theatre-goer would rather watch a bootleg over seeing the show live.
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