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Post by distantcousin on Jan 4, 2024 14:16:24 GMT
Trying to get a reduced price ticket for tonight or tomorrow - all the offers seem to have dried up! Plenty at full price though!!!!!! Your best bet is trying to get a rush ticket tomorrow as I don’t think there will be anymore offers for the rest of the week. Or get a £30 in the Grand circle and upgrade for £20/30 once you’re there (if there are better seats available). thanks! Last ditch attempt - I should have been more organised last week! He who hesitates....
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Post by distantcousin on Jan 4, 2024 13:38:10 GMT
There was a £54 single ticket for row DD (for today's matinee) about an hour ago...(on TodayTix)
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Post by distantcousin on Jan 4, 2024 12:42:47 GMT
Trying to get a reduced price ticket for tonight or tomorrow - all the offers seem to have dried up!
Plenty at full price though!!!!!!
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Post by distantcousin on Jan 3, 2024 10:28:04 GMT
What a nightmare but good that you didn't allow it to ruin your experience of the show. It is quite apparent that, post-covid, audience entitlement/brattish behaviour is off the charts. I have noticed, particularly at musicals, that nearly half the audience (or more) can't fathom watching a show without a drink in their hand. This has elevated from just bringing in a glass of wine to now bringing in the whole bottle. I find that boorish and tasteless. Whatever happened to ordering your drinks so you can just enjoy them at the interval? It would be easy to blame theatregoers but the blame lies with theatre owners who rely on heavy bar receipts. It is no wonder shows like DIRTY DANCING keep getting rebooked - it doesn't sell a ton of tickets but the bar receipts are huge. Anyway, back to your experience - good that the FOH were receptive. I am pretty sure that none of them are being paid enough to deal with the crap they are served. I have a friend who manages FOH at a theatre and the amount of abuse (especially homophobic abuse) from audience members, especially latecomers who are held back, is far worse and more frequent in the past 2 years. My bugbear is eating during performances. This is completely normalised now. Crunching, noisy wrappers. People can't seem to stop stuffing their cakeholes anymore. I find it incredibly vulgar.
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Post by distantcousin on Jan 3, 2024 9:06:43 GMT
I went to see Sunset Boulevard at the Savoy for what will be the last time before it closes tonight, and honestly it felt like a bus load of horrible people who shouldn't venture anywhere near a theatre got a group discount. I had a brilliant seat in the stalls, but shortly after I sat down an older couple sat behind me in the next row. From the minute the man sat down he was moaning about the seat, the theatre and being openly rude and abrasive to people who were very politely asking to get to their seat, as he was on the aisle. I was also on the aisle of the row in front, so when someone asked to get past me I of course stood up and walked to the side to let them past, when I heard a really loud EXCUSE ME in my ear. I looked behind and it was the man going berserk at me, claiming I had knocked over his drink that was next to his seat. I looked to the floor and noticed that his drink was very much still in tact and about 2 metres away from me, if anything closer to the people behind him. I genuinely didn't know what to say and didn't want to be rude, so asked 'Sorry, is there anything else at my feet?' and he again very rudely shouted 'YES I THINK YOU CAN SEE - WATCH IT!'. This whole exchange was so pointless and didn't need to happen in any way whatsoever, as nothing had been knocked over. To add hypocrisy to the mix, the man then extended his leg out towards my seat, resting it right next to me and eventually knocking over my bottle of water during ACT 1 - I definitely feel that it was an act of defiance. There was a technical problem that delayed the start of the show by around 10 minutes tonight, and honestly the amount of moaning that this man did when he was waiting drained my soul. He just kept huffing and puffing, complaining about the seat and saying how uncomfortable he was at having to be in it for 10 minutes more than he had to - Why bother coming to the show at all? Just before the show started he said 'If this doesn't start soon I'm leaving', and honestly I wish he had. To add to this lovely experience, a family of four sat in the row in front of me and chatted throughout the entire first act. The lady next to me took matters into her own hands and told them to be quiet, but they didn't take any notice and continued in a whispered tone - Again, why bother coming? I paid just under £100 for my ticket, so decided I wasn't having it and spoke to a FOH at the start of the interval who said they'd have a word and were very helpful. Just after this I walked over to the bar and witnessed another older man screaming the face off of the FOH at the bar, I was genuinely shocked at the amount of terrible behaviour I was seeing in one night! She called the manager over before serving me and the man continued to argue, saying if service has to be this slow then he has a right to shout at anyone he wants to. There were literally about 5 people in the queue including me, so again a totally pointless argument. I ended up having a mutual rant with the FOH at the bar about how terrible the audience was and felt slightly better, but she was physically shaken. When I got back to my seat though I found the older man behind me in the middle of complaining to a FOH about me, saying I was 'constantly' knocking over his things. He was also speaking to the FOH in such a rude and unnecessary way, and she just looked at me and then back to him and said 'Sir perhaps if you hold onto your things and then move them to your feet when the show starts and everyone is seated, then maybe this won't happen again' - I have no idea who this lady is, but she's my new hero! The man then just gave us both a look of distain and mumbled 'disgraceful' under his breath. To top all of this loveliness off, I waited until almost the end of the interval to go back to my seat as I had hoped that FOH will have chatted to the people in front before I got back, However, they came just as I sat back down and the family really didn't take it well. The dad stood up and turned to everyone behind him, saying 'Right, who's been complaining about me?' and was told to sit down. The wife then said 'I'm sorry but can I just say we were only chatting during the quiet bits where nothing good was happening', to which the FOH of course said they shouldn't be disrespectful enough to chat during any part, but they were so riled and entitled about it. The man then just kept constantly turning his head back and looking at the people behind him, as if someone was going to just jump up and shout 'IT WAS ME!'. They then continued to chat throughout act 2. The only redeeming funny moment was when Tom stripped towards the end of the show, and the mum turned to her seemingly teenage son and said 'Those are like the pants you wear' - He looked like he wanted the floor to swallow him whole! Overall I don't think I've ever seen so much equally bad behaviour in one night at the theatre. The show was brilliant, but I was happy to leave when it was over. I hate "people", I really do! Such ghastliness! What has happened to society?! The comment about Tom's pants me me giggle though. I'm so sorry your experience of this brilliant show was tarnished by this.
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Post by distantcousin on Jan 3, 2024 8:53:17 GMT
I've seen the show for the first time tonight, and all I can say is that I really enjoyed it. Very technical too, which is something you wouldn't expect from a show without a set. The only remark I have is that when you don't show the reporters and tv crew entering the mansion at the end, it's really difficult to see how the camera's make Norma think she's 'ready for her closeup'. This made the ending really confusing for my daughter who never saw the original. I agree. Removing the police and reporters from the final scene is a "choice" and doesn't serve the storytelling. As well as cutting the voiceover "as dawn breaks over the murder house..." I wonder if there is rather too much assumed knowledge of context - stripping back so much of the "scaffold" of the story.
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Post by distantcousin on Jan 1, 2024 12:40:09 GMT
I went to see the matinee of this today - my last show of 2023. I have to say that I nearly did not book this when it was announced. The casting just did not inspire me, and I felt that Scherzinger was all wrong for Norma - no proven acting chops, the wrong age etc, and I love SUNSET too much. Well, I am happy to be proven wrong! Starting with Nicole, she is perfect for this production’s interpretation of Norma. She is mad from the start, giving a very physical performance, rolling around the stage, convulsing and undulating in any number of body contortions. The sexual attraction between her and Joe is played up to the max and works. The singing, whilst not to my taste, is also done well enough. Her sustained ‘Home’ during ‘As If We Never Said Goodbye’ stretches the boundaries of good taste, and musicality for me, but I can understand dramatically why this was a choice. The audience clearly loved it though. She got a smattering of standing ovations from people in the Stalls after that song. It is the other members of the cast that really impress though. Tom Francis as Joe is the standout, giving a stellar performance. I also really enjoyed Grace Hodgett Young as Betty. She gave a lovely performance that really benefitted from the close glance of the camera at certain moments. David Thaxton gave a slightly different take on Max that was very welcome. It is the staging and direction that really makes this production of SUNSET however. It is just incredible! There are so many moments that just make this pop! The Car Chase, with the title sequence, and stylised, contemporary movement from the company was a fantastic start. The Entr’acte is nicely staged, with various ‘Easter Eggs’ and nods to past productions (starting with the watching of the original film, Nicole’s turban, the chimp costume, ‘Mad About the Boy’ on the mirror, the gun, the cut-out of Andrew Lloyd-Webber). The Title Song is an amazing technical feat. The sound and video come across perfectly, and are in sync throughout. I am not sure how they managed this from the Theatre, all the way down the Strand, and then back into the Theatre, but it is absolutely to be commended. The Hog-Eye moment in ‘As If We Never Said Goodbye’ still got me (just like in the ENO staging). The lights, the wind machine, the smoke, the swell of the orchestra! I had chills and tears in my eyes! Just beautiful! Finally, Joe’s Death and Norma ‘s Mad Scene are absolutely breathtaking! The best version of these final moments that I have ever seen. The lighting (or lack of it in places), the blood! Again, I felt a little emotional seeing this - the first time that this has happened at this particular part of SUNSET. Nicole’s mad scene was truly unhinged. The lighting throughout is a real hallmark of the production. The use of Young Norma, floating in and out was a masterstroke. I also liked how certain characters lingered or walked across the stage when they were clearly in the back of the mind of the characters (such as Norma staying on stage throughout ‘Too Much In Love to Care’ and during most of Joe and Betty’s interactions, or Artie walking across the stage when Betty can clearly thinking of him). It was just refreshing to see a show I know well given such a radical that kept you guessing and on the edge of your seat. It was like seeing a completely new show. The line readings were also so different (with more modern anachronisms in places) that this too was surprising. There were cuts to the material, and changes to lyrics, but what was there originally was not missed. I actually prefer it without ‘The Lady’s Paying’. Are there some cuts in ‘Too Much In Love to Care’? This was clearly not a traditional SUNSET. It was as if Nicole in 2023 was seeing parallels between Norma’s life and her own (she a slightly faded pop singer), and was reenacting Norma’s story in her own head imagining how this would play out now (hence the modern style), giving a very meta interpretation of the material. However, that being said, it very much honoured the source material with the silent movie stylings and delivery, as well as the very obvious reliance on the film medium, as well as leaning heavily into the camp. My only slight quibble would be that, if I did not already know the material, and was seeing SUNSET for the first time, would I have been able to keep up with what was going on? The lack of props and scenery could potentially cause confusion to the story-telling. Oh, and the orchestra sounded gorgeous, helped by wonderful sound design! This should definitely be winning awards for direction, lighting and sound design. This is my first Jamie Lloyd production, but will definitely not be my last. I went with 4 stars, as I had minor issues with it, but still an absolutely incredible production, that I have been thinking about ever since I saw it this afternoon. I wish I could see it again!
Your review/reflections echo mine pretty much exactly!
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Post by distantcousin on Dec 28, 2023 13:53:26 GMT
Dynamic pricing is not widely understood by the British public - I don't know how it is in the US? But the system has been introduced by stealth almost, and I think most people are completely unaware of how it works and how not to "fall foul" of it.
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Post by distantcousin on Dec 23, 2023 11:09:06 GMT
Do we know if there are any sources of remaining tickets besides ATG? (and twickets)?
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Post by distantcousin on Dec 21, 2023 12:37:29 GMT
I thought it was OK. As someone very interested in the life of the Royals, it was appealing, but I found it a little too gentle for my tastes - in comedy style and social commentary.
I wanted it to give me a lot more. I actually found the scenes with the Young Billy the most engaging.
I thought the ending was strange, but it didn't offend me that much. It seemed to decide to step into surrealism (a branch of comedy it hadn't touch on over the course of the night, so it was quite jarring)
My interpretation of it was an allegory to The Queen Mother pulling rank. She may have been close to him and let him get away with a lot, but for me she was asserting that she was the boss, a much higher ranking noblewoman (in her eyes) and by virtue she could and would instruct him to do anything she asked - however menial or unpleasant.
I agree, the audience "fussing" over the corgis was irritating and distracting. Gosh, we are simple creatures aren't we?!
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Post by distantcousin on Dec 21, 2023 12:22:51 GMT
The remaining ticket prices are EYE-WATERING, aren't they?
I'm gutted that I wasn't more forward thinking/understanding of dynamic prices and booked a 3rd or 4th trip.
They should have extended (had the theatre been available) - even if it was La Tucker doing another month.
Could they have an encore run next year somewhere?!
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Post by distantcousin on Dec 21, 2023 9:03:40 GMT
Has anyone noticed what time this has been finishing for an evening performance recently? I'm going again next Wednesday and just found out my nice comfy 23:05 train has been cancelled! (I know it’s live theatre and could differ anyway but trying to get an idea of being ready to dash for the 22:30 or saunter to the 23:30!) Finished last night at 22:07 and I had to dash to get the 22:30 from Waterloo - so missed the curtain calls! Fortunately I was on the end of a row. PS.What’s the young Norma standing on stage for 10 minutes before it starts all about? It's a form of "pre-show" - this is becoming increasingly common in contemporary theatre productions. I see it a lot in recent years. Although I saw something similar as far back as 2012 at Staunton and Ball's Sweeney Todd.
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Post by distantcousin on Dec 21, 2023 8:59:22 GMT
Most of the delays have been caused by clearance being given so late because of how long it takes the audience to get in. They were still getting through the queue at 7:32 earlier this week. Nothing to do with Nicole. This happened on the night I went to see it. The Savoy is TERRIBLE for ingress when numbers reach any decent volume. People were still faffing around finding their seats at 7.29. When I saw it the first time Young Norma came on by 7.25 at the latest (possibly earlier) and just did her thing for the final few minutes of this "pre show" before the show started proper. When I saw it on the 9th, they didn't bring her on until everyone was seated and all the auditorium doors were closed. It was very different. has anyone else experienced this variation? @bvm ?
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Post by distantcousin on Dec 20, 2023 22:54:17 GMT
The dog jumped off the couch so she stood up and said “come on” and led it off stage and then right back into the conversation. Even sitting on the couch with it you could tell the dog was thinking “not today” and really wanted to go, she was holding it pretty tight so it wouldn’t leap off. She did exactly the same thing at tonight's performance. I suspect it is as directed.
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Post by distantcousin on Dec 19, 2023 13:48:02 GMT
But she isn’t. I found her quite good - good vocals, decent line delivery. I hated the costumes, and her acting “choices” however tightly directed. I find the hype and hyperbole around Scherzinger amusing. She hams constantly; twerks, pouts and gives a unique performance. This is all fine if you think it suits the character/piece. Some don’t, such as myself. Being “iconic” and “yaaaas kween” isn’t acting in and of itself. There’s talk here that she’s some legendary stage star off the back of this performance. I appreciate it is very in-the-now and hype and excitement always run highest when a show/flavour of the month is at its hottest - but some of the praise here is a touch OTT. If she puts in solid 8 show weeks in a variety of different roles in the coming 5-10 years, showing range and versatility from relatively “serious” acting (zero gurning) to musical comedy, earns her stripes on tour or in rep and so on - then perhaps she’ll start to earn that kind of status. I understand everyone’s excitement because of what she represents - a star for the TikTok era (*snaps fingers*, gurlfriiiend) and very popular with gay audiences, but honestly she’s got two major theatre credits to her name - and one of those was in Cats 🤣 I sort of see where you’re coming from. Especially in the first act I wasn’t sold on her acting- not acting through song necessarily but the acting. I also found the twerking bits a bit forced and some of the close up shots pouting to the camera a bit cringe. To me, she is no Oscar winning actress but I did leave the show thinking wow, the Olivier has to be hers, what a beast. What she does up there is not easy. Rachel Tucker also does the pouting and looks to camera - that's how Lloyd has directed them, I suspect.
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Post by distantcousin on Dec 19, 2023 13:47:08 GMT
A couple of people above have deliberately misquoted me as saying the show is “for the gays” - which you’ll notice I never said. I implied that her performance is popular with gay audiences, which anecdotally I believe it is. The mock offence isn’t needed here - just discussion. The stylised approach and Scherzinger’s high camp performance lend the show a certain feel, which I’m 100% sure is what was the director and performer intended. Sunset Boulevard - the film and the musical has never NOT had an element of camp in it. It is absolutely intrinsic to the character of Norma.
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Post by distantcousin on Dec 19, 2023 13:43:33 GMT
I understand everyone’s excitement because of what she represents - a star for the TikTok era (*snaps fingers*, gurlfriiiend) and very popular with gay audiences, but honestly she’s got two major theatre credits to her name - and one of those was in Cats 🤣 As someone who doesn't go near TikTok and happens to be gay, I find your comment a bit weird. The whole "yasss queen" finger snapping act has been a part of popular culture for more than a decade. Equating that as merely popular with gay audiences....hmm...nope. Not all of us find it entertaining or representative of anything other than a lady/person being sassy. Period. Re your slam at Cats, how very original. But I doubt Elaine Paige or Betty Buckley hold their heads in shame when that credit is mentioned in their bios and for good reason. I doubt NS does either. I knew little about NS before seeing her in SUNSET but having seen all of the London Norma's (sans Rita Moreno), I thought she nailed it with a highly original and daring performance. Maybe it wasn't for you but I take issue with anyone that says it only generated excitement because her portrayal resonated with TikTokkers and 'gay audiences'. I think that is nonsense. I agree. A lot of what is considered quintisentially gay culture or queer culture has, for bad or worse, bled very heavily into the mainstream. Mainly due to Ru Paul's Drag Race. When you've got suburban women using this kind of vernacular (be it ironically or non-ironically) - which I have definitely witnessed - you know it's gone mainstream.
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Post by distantcousin on Dec 19, 2023 13:40:12 GMT
I agree that Lloyd probably doesn’t like much of the material, but neither do I. I think he has done a great job at hiding the flaws of the show and highlight its strengths. However, I absolutely disagree that Rachel Tucker gives a performance that is anywhere near the level of Nicole. Nicole is a virtuosic singer and her ability to act while singing is among the greatest I’ve ever seen on stage (never expected this from a pop star). Rachel’s voice just doesn’t have the expressiveness and nuance that Nicole’s does. This is why I think it’s funny that people might compare them suggesting Rachel is the ‘actor’. No I think Nicole is the actor. She also has star power and the whole tone of her performance and production has this weird dynamic where it feels it’s commenting on her own career. Very very special. Rachel gives a great understudy performance is how it feels to me (ouch, I know). Nicole is breaking ground. He has been quoted as saying he specifically wanted to do Sunset. So are you speculating he wanted to direct the story, but doesn't care for the music?
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Post by distantcousin on Dec 19, 2023 8:47:44 GMT
Steve - unless I missed it, did you give a full review after seeing it with Rachel? Did it make the production work any better for you than your original visit? This production is a fabulous “concert” version of Sunset Boulevard, with stunning choreography as a bonus. It’s not a proper staging of the show, and I honestly believe that Lloyd doesn’t actually like the source material that much. But yes, seeing it with a proper actor in the lead role did make it so much better. With Tucker in it I’d give it 5 stars as a concert. Well, that's an "opinion" I guess. :/
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Post by distantcousin on Dec 19, 2023 8:42:59 GMT
Just on my way back from seeing Rachel Tucker in tonight's show. Such a different, broken performance for her Norma. I agree with what has previously been said about both NS and RT bring different but bring equally great things to the roll. Had to suffer a rowdy group in the audience behind me who clearly weren't enjoying or following the show. Having raided the bar, they were going to let it known their boredom. I suppose this is the problem with a "traditional" show being delivered in a non traditional way for members of the public who haven't got that memo. Does anyone know if changes of lyrics in the show were for this production or have they been implemented since the last cast recording. "Every Movies a Circus", "Boy meets Girl" and others seems to have slightly different, slightly darker lyrics then what I remember and I swear the script Betty and Joe writes used to be "Blind Windows" rather then "Dark Windows". Obviously there is some added dialogue to fill in the gaps where the two missing songs were. Any ideas? I was there last night as well - my second visit so I could see Rachel Tucker who, frankly, blew me away. It is one of those rare occasions where two actressses sharing a role on seperate nights both deliver knock-out, albeit, very different performances. Nicole struck me as fragile/damaged while Rachel was unhinged/erratic....both vocally sensational. Sorry you had a rough audience experience - I was expecting the worst given the number of people heading to their seats armed with full bottles of wine and behaving like they already had a few on the way in. We had a popcorn muncher next to us who kindly put her snack down upon request from my husband but it really is making the theatre feel like going to the circus. Shows seems secondary to the eating/drinking experience and it is a real turn-off. AAARGH! How the hell has eating noisy, crunchy food in wrappers become completely normalised in theatre now?!? I feel like turning around to people and saying "is impossible for you to stop stuffing your face for a couple of hours?!"
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Post by distantcousin on Dec 19, 2023 8:40:55 GMT
Just on my way back from seeing Rachel Tucker in tonight's show. Such a different, broken performance for her Norma. I agree with what has previously been said about both NS and RT bring different but bring equally great things to the roll. Had to suffer a rowdy group in the audience behind me who clearly weren't enjoying or following the show. Having raided the bar, they were going to let it known their boredom. I suppose this is the problem with a "traditional" show being delivered in a non traditional way for members of the public who haven't got that memo. Does anyone know if changes of lyrics in the show were for this production or have they been implemented since the last cast recording. "Every Movies a Circus", "Boy meets Girl" and others seems to have slightly different, slightly darker lyrics then what I remember and I swear the script Betty and Joe writes used to be "Blind Windows" rather then "Dark Windows". Obviously there is some added dialogue to fill in the gaps where the two missing songs were. Any ideas? The changes are specific to this production and were revised by Black and Hampton
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Post by distantcousin on Dec 18, 2023 9:22:31 GMT
Sprouts with honey is the answer. If you have the honnnaay monnaaay. OMG, that line made me giggle both times!
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Post by distantcousin on Dec 18, 2023 9:21:35 GMT
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Post by distantcousin on Dec 18, 2023 8:45:51 GMT
In my interpretation at least Eva is using social media. I thought her bits to camera during the art of the possible and a new Argentina were videos she posted to social media the screen being a rectangle really gave it the look of a phone screen to me at least. Good shout, I noted the vertical aspect ratio (and that it was always off to the side irked me, I get that the stair takes up stage left a lot of the time but it moves- so can the projection?) but didn't even think of connecting it to a phone screen or social media... Thinking back I think it was the strong aesthetic of that vintage silver camera dolly they were using that I assumed rooted it to the story's era. The other handheld camera rig was much more modern/neutral/subtle (matte black metal), maybe using a more modern dolly would help with the (assuming) intentional anachronism? and perhaps having social media app icons imprinted on the video footage to make it more obvious? I had no idea what this production was trying to achieve. Other than present a story "inspired by" Eva Peron. It was not the story of Eva in any meaningful way.
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Post by distantcousin on Dec 18, 2023 8:44:10 GMT
The direction does lean into the - I wanna say camp but it’s the wrong word, yet I can’t think of a better one - however. can't say I've comprehensively studied Magaldi/actors who have played Magaldi but this one was... quite something 😂 (I quite enjoyed watching him) It’s not really an Evita with clear storytelling, at least not in the style of the original. So if you’re quite attached to strength in plot it might not be your thing. It was more about the visuals and audio really. agreed it did have a feel of a showcase/highlights reel, I could only judge it scene by scene, some of which *really* impressed me with their melding of lighting/set/choreo. That said I only saw it during the previews period, hoping to catch it again towards the end of the run and that they'll have tightened things up by then! Thought Martha was really wonderful Dan Partridge, who has for the past few years been mostly playing Danny in Nikolai Foster's production of Grease. But yes, VERY easy on the eye....
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Post by distantcousin on Dec 17, 2023 22:52:12 GMT
I think it hinges on whether you can cope with an Evita set in the present day. If you can, I’d say go for it. (Would also say, whatever you think of the visual and directorial choices, I think it sounds sensational. Orchestrations updated by Stephen Brooker, he gets way more out of a 9 piece than the Kenwright tour did. Fresh and punchy. And the vocals IMHO are fantastic. As is the sound). I loved the Regents Park production so an updated version isn't a problem for me. So did I. This version is a poor facsimile of it.
It lacked the passion, the electricity or the danger of that Regents Park version.
It was amateurish, bland and unfocused to me.
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Post by distantcousin on Dec 16, 2023 14:01:24 GMT
Oh god, I absolutely hated it! I mean I can see why people would think this. Choices were certainly made. I could have been distracted by the arms of the ensemble! I do think the storytelling was weak. And I didn’t really buy Tyrone’s Che, just didn’t have much presence. Which is odd as he was sensational in JCS!
I'm just gathering my thoughts on it still. But it came across as quite bland and amateur - and I've come to the conclusion that I've gone off Curve's "house style". I didn't enjoy Nikolai Foster's A Chorus Line either.
I preferred their shows more under the Paul Kerryson tenure. (back when I lived in Leicester, so I visited a lot). Fond memories of their productions of Chicago and Gypsy, to name but two.
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Post by distantcousin on Dec 16, 2023 1:04:39 GMT
Wasn't a huge fan of this but... I prefer the stripped back look of their productions rather than when they put a cheap looking set on it which dwarfs the stage (like The Wizard of Oz). It is a huge stage and so why fill it with set just for the sake of it? Admittedly there's probably a better midpoint. West Side Story and Billy Elliot achieved this better imo. The set and costumes alone, as much as I hated them (and I really hated them) weren’t even the biggest faults in my opinion. It was just so soulless. The chap next to me described it as “hollow”. The Kenwright tour was miles ahead of this. Dreadful. You took the words out of my mouth.
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Post by distantcousin on Dec 16, 2023 0:58:17 GMT
Just back from queer Magic Mike! I mean, Evita. Loved it. Stylish, sleek, minimalist, atmospheric, sexual, creative, refreshing. Lit to within an inch of its life and exposing all the workings of this gorgeous building. Stunning. Cast sublime. Full report to follow at some point. Oh god, I absolutely hated it!
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Post by distantcousin on Dec 14, 2023 8:32:23 GMT
Agree that the guy playing Artie was very average in all aspects.
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