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Post by chernjam on Mar 27, 2024 3:40:35 GMT
Our first follow up - courtesy of NY Times:
"Scherzinger, who said she has committed to nine months in the role, will be joined on Broadway by her three Olivier-nominated co-stars, Tom Francis, Grace Hodgett-Young and David Thaxton." That would bring her run to June (in time for the Tonys and possible room for extension thru summer)
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Post by chernjam on Mar 25, 2024 22:07:23 GMT
When the original Broadway run was announced with Nicole for 6 months, I had assumed a late Fall start (thinking November-ish) to get her past the Tony nominations deadline and try to eek her into a few more months.
Now with this announcement, I'd assume a marketing gimmick where "6 months only" will magically extend (kind of like when Glen came in 2017 with the revival and by opening night the 10 weeks were extended thru the end of June) Just economics wise, they probably need Nicole and for it to be selling out for 9 months to recoup on Broadway.
I'm curious if Rachel will be coming along too. I remember reading speculation that she might and then take on the role full time in Summer 2025 (which we're getting way ahead of ourselves here)
Very exciting though. And as much as it's been infuriating waiting for news of the recording, (mostly because I was anxious that ALW would follow with his recent trend of not re-recording anything) I do like that they're using that to help build momentum. I'm definitely down for buying tickets next week (which will be like I did for the Original Broadwy production - mail ordering in March for November 1994)
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Post by chernjam on Mar 25, 2024 18:33:49 GMT
Finally! The info chernjam has yearned for 🥳 As someone might say: " Great day. . ."
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Post by chernjam on Mar 20, 2024 1:33:52 GMT
Does anyone know who votes for the Olivier Awards? I was curious if its like here in NY where producers send voters some promotional stuff from their shows to advocate for their shows? Just thinking that perhaps they were sending the recordings to the voters first as an exclusive before making it available
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Post by chernjam on Mar 15, 2024 13:16:50 GMT
Adam Higgs, who's part of the orchestra, just posted this. ITS COMING This is the closest to official confirmation I've seen - so I'm pretty psyched. Great news on this the ides of March
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Post by chernjam on Mar 14, 2024 16:48:42 GMT
I'm no doubt being oversensitive (and yes, in other threads I would be the one reminding the fandom that it's showBUSINESS etc etc) - but it is rather annoying that the objective of the LONDON cast recording is now to increase the NYC sales. And not reward those of us who almost bankrupt ourselves seeing it repeatedly at The Savoy! #RantOver On the flip side of the coin though, you may not be getting a recording at all if it wasn't for a potential transfer. There's a chance they only recorded it in order to help publicise a potential Broadway run. I actually think the frustration should run the other way - the fact they've done a "cheap" live London recording means it might never get a "proper" Broadway cast studio recording. Company and Back to the Future both sold the London recordings exclusively and never bothered re-recording after their Broadway transfers (despite Company otherwise trying its best to pretend the London run never happened!) Granted they were studio recordings, but still. I'm sensitive to the fact that it's, as BVM points out its showBUSINESS and its easy for us to pontificate on what should/should not happen; how much money "they" have, etc. and have no idea about the actual financial workings behind the scenes. London is far more closed-mouth about those things than NY. And as ALW shared when POTO closed, its insane how much more expensive it is for anything to open on Broadway. (The number of openings and closings here this year has been dizzying and hard to keep track of) I get that even for a super fan like me, who'd be willing to fork over the price of a ticket to the theatre for a properly recorded, full length version of Sunset I'm in the minority and that ALW, et al can't look to me for their financial prospects. Once I've bought my one copy, that's it (unless I gift it to others) and with so many digital ways of sharing/stealing it, I can appreciate the good old days when a new CD would arrive and people would run out to buy them are long gone. All that being said, it is confusing for a super-fan to see Sondheim revivals get re-recorded every time there's a new production. It's no secret that most of Sondheim shows and productions have never come near being the juggernauts that ALW shows have. So maybe he has fans backing him and his productions knowing that they're not going to recoup most of their investment and don't care - they just do it for the art. In any event, I'm hopeful that with this production that perhaps ALW is finally getting the artistic appreciation he's always deserved along with the audience acclaim. I honestly can't remember reading such critical praise for anything he's done since I've followed him when Sunset had its World Premiere - now coupled with the sell outs it was receiving at the Savoy. So perhaps they're being cautious in not over-marketing this? And trying to be strategic and respectful of critics, (and now Olivier voters) as well as audiences in planning a release of a recording?
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Post by chernjam on Mar 12, 2024 16:33:53 GMT
I was hoping that they were going to release the cast recording sometime after the Olivier Award nominations - great marketing opportunity and maybe a way to help with moving nominations to actual votes for the award itself?
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Post by chernjam on Mar 12, 2024 13:30:41 GMT
If I'm remembering correctly, this revival of Sunset Blvd received more Olivier Award nominations than the original production did 30 years ago - so happy for the creative team, especially ALW to see something he poured his heart into finally getting the critical AND audience acclaim it deserved.
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Post by chernjam on Feb 22, 2024 0:21:53 GMT
I'm one of those who probably takes technology for granted and just assumed it was a lot easier for them to pull this together than it actually was. Granted I've only seen clips online, but Tom Francis made it look effortless
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Post by chernjam on Feb 11, 2024 4:55:57 GMT
Where is the cast recording may I ask? Sadly I am now more or less 100% convinced that it will be released at whatever point they think it will boost sales for NYC the most. Be that when tickets go on sale, when it starts previews, when it opens or at some other time the producers feel would be optimal. Bit of a shame for a LONDON cast recording and for the UK fans but there we are I guess. (Given it's the 4 same principles I even wonder if they'll bother plastering OLC on the cover and just call it something vaguer, which would also be mildly annoying). Problem is the buzz in the wider community dies very quickly after something closes. So there isn't much incentive to release it now. (To echo other comments above, I also find NYC obscenely expensive. Seems to be 20 quid every time you get a coffee, sandwich and maybe something sweet and you almost need a loan for a decent hotel room. Feel ripped off the moment I step off the plane!) I'm hoping that the Olivier announcements are generous for this production (if I remember correctly that's in a few weeks) maybe between that and the awards they'll release the recording and open advance ticket sales for NY? Its hard to keep buzz and momentum up that long between productions, but I think there's such a natural excitement that any notable thing (Noms and hopefully wins... cast release... NY theater announced/box office opens) are all being carefully planned to maximize things Could be wishful thinking, but the number of public statements that seemed to indicate a recording was made and coming, its the only thing I can figure.
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Post by chernjam on Feb 8, 2024 4:04:46 GMT
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Post by chernjam on Jan 22, 2024 4:32:44 GMT
I was having a look at bookings out of curiosity just now (I'm already booked to see it in July). They have a traffic light system on the date page to show availability and I had to scroll through to the end of October to find a single date in green which is good availability. Just shows how we all love a bit of nostalgia. I wonder if the producers expected it to be this popular I would never have expected or anticipated that it would sell this well... but I suppose nostalgia coupled by the fact that this is being created as a huge "event" is definitely catching people's attention
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Post by chernjam on Jan 15, 2024 20:39:23 GMT
I know we're not supposed to be encouraging these boots/slimes/whatever - but with each one I've found I'm more excited and can't wait for this to arrive on this side of the Atlantic. It's going to be a long 11 months
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Post by chernjam on Jan 11, 2024 14:37:31 GMT
Couldn't agree more. Along with Evita and Piaf, the best thing Elaine ever did. Even ALW said she did something with that score he hadn't heard before and "thrilled because she dared". I saw her closing night on Broadway - electric. oh wow - another person that was there for the Broadway closing night. That was indeed an unique experience. I remember Paige being in the middle of closing night speech and there being a miscue which led to the orchestra starting to play the bows/close out, Paige shrugging and it ending somewhat anti-climactic. Not to get too off topic - I never cared for Paige's "Norma." The first time I saw her, my expectations were so high having read all the reviews from London and I found her trying to be too comedic. I get that many expect that and see the original film as a dark comedy. But after Close playing it so seriously, Buckley being so vulnerable and heart breaking - Paige, I just found myself not caring at all about Norma and found myself bored. Petula I think my expectations were so low as well that I was pleasantly surprised (maybe I was in Sunset withdraw and was just excited it was touring...) but if I had to rank them, she would be higher than Paige in my book.
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Post by chernjam on Jan 9, 2024 19:30:39 GMT
You know what Patti LuPone said after finally seeing the original production of this show? It’s boring. And I can only reflect my experience seeing the Glenn Close concert production and agree with her. I think what Jamie Lloyd has done with some of these touches is just try to make it entertaining and lighten the mood. ESPECIALLY with this highly minimalist practically monochrome production we need a bit of a break sometimes!!! I would suggest that some of the light touches are meant to be more than JUST a cheap laugh - the twerking is definitely part of the character and scene, as is the idea of Norma’s first husband idolising a photo of her in her more youthful prime. The ALW cut out probably more of a cheap laugh. I don’t mind though, I’d rather be entertained than bored. Did she actually see the original production after she left or was this her reflecting on the show herself? It's not abnormal for her to piss all over ALW after she's left a production of his. She dissed Evita too, yet still finds a way to sing Don't Cry for Me Argentina in concert and talk about how special she was for singing it in the original key and how those who've followed after haven't and blah, blah, blah... I'd love for her to sit and hear Nicole singing the hell out of this score - in the original, high notes...
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Post by chernjam on Jan 8, 2024 22:52:42 GMT
As one who lives in the NY Metro area, just seeing the lavish praise that the US critics had for this Sunset in London dwarfed the praise they have had for the show in my memory. At best Sunset got "mixed-to-positive" reactions. Reading the NY Times, Washington Post among others practically begging them to bring the production out here, I think it will be very well received. As for the ticket prices, that's just an accepted reality as well. When I paid $300 a ticket for Hamilton, it mattered little to me that there was pretty much one set piece and not the most lavish of costumes/etc. The performance, the story, the music were top notch... Bad Cinderella - as much as I'm a huge ALW fan and liked some of the music from it, and from the looks of the production were more extensive than many others - I had really no interest even going for the great discounts that were offered. Hearing how many theatregoers from the US flew in just to see Sunset and came back raving about it - I think this will be the event of the 24-25 season and wouldn't be shocked if "Gypsy" gets delayed.
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Post by chernjam on Jan 8, 2024 3:08:22 GMT
those final bows followed by that teaser for Broadway. Wow Thanks for sharing... now the long wait begins
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Post by chernjam on Jan 6, 2024 23:41:37 GMT
It's so awesome reading all of these posts and kind of reliving the excitement of 1993/1994 - when Sunset opened in Los Angeles with much better reviews and then speculation began building that Glenn Close would come to NY instead of Patti, only to be announced in March, when tickets went on sale - for a November 1994 debut. Deja vu all over again... 30 years later, this acclaimed production has people on this side of the pond already excited and waiting.
Just hope for a cast recording in the meantime
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Post by chernjam on Jan 6, 2024 5:28:37 GMT
It's sad that there hasn't been a really satisfying revival of Evita (nor successful one since the original production). I do love the score -although I do agree with some of the criticisms people have offered here. A few months ago as I was getting lost in you tube algorithms and such I stumbled on this which I found fascinating and shows the impact a director and their vision can bring. The clips I've found from this production seem fresh and innovative:
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Post by chernjam on Jan 5, 2024 18:58:59 GMT
Brilliant Insta/Facebook post by Christina Bianco on auditions for the Broadway alternate! 🤣 I just can’t work out how to save it and post it on here. But very clever! www.instagram.com/reel/C1umG82NwL8/OK I'm not the biggest theatre fan who follows all of those actresses and nuances carefully and closely as I suspect many others do but that was friggin brilliant and I couldn't believe how spot on they were (and that I actually caught the subtleties)
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Post by chernjam on Jan 5, 2024 3:21:46 GMT
I have to admit, I was shocked by the difference in how much to mount in London ($2.5 million) as opposed to Broadway ($17 million) If that's accurate, no wonder ALW was saying what he was about the costs on Broadway when Phantom closed
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Post by chernjam on Dec 30, 2023 0:44:12 GMT
Given that NS was given the role over a British actor, isn’t there a chance that a reciprocal arrangement could be made to get Tom over to Broadway? Tom is going with this- him and NS only. I was really hoping David would come too... The clips I've seen sound amazing and him being such a fan of the show himself... Any word on a cast recording?
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Post by chernjam on Dec 27, 2023 18:21:50 GMT
This is a brilliant show that totally deserves the massive success that it's received, but honestly I find the upward dynamic pricing in the last weeks to be really disappointing and wholly non inclusive. The pricing structure seems to be generally praised on here as the show is so successful, but really who is this benefitting? The already wealthy producers? Multi millionaires ALW and Nicole Scherzinger? I work in the same industry and only found out that I had some time off over christmas last week, and was gutted when I seen that the show was sold out as I had hoped to see it before it closes, now that I have the time. I was hoping that I could get a last minute return ticket which is usually totally possible for any show, but every day I've noticed that they release back a few on the day for a crazy £295 regardless of the section - that is really ridiculous and I can guarantee that anyone in their 20s or even just those with bills to pay could not afford this for one night at the theatre. For context, I seen the show in row G of the dress circle with a £40 ticket early on in the run. I know this is cheap, but to be honest I felt it was fairly priced as I felt very far back from the stage at the Savoy. I had a look this morning and they had released two tickets in the same area for £295! Sorry if this sounds like a bit of a rant, but I feel that this kind of pricing totally reinforces the feeling that theatre is an elitist world that only the wealthy can benefit from, and I'm just so disappointed that I won't be able to see the show again before it closes because I simply can't afford it. I get what you're saying and feel badly for you personally... but I doubt seriously the producers are making a lot of money on this. The way costs are these days, particularly in theatre (at least here in the US) if they're breaking even its a success. While theres not a massive amount in terms of costumes and sets for this, I'd imagine the camera work and video stuff costs are pretty up there, not to mention 18 piece orchestra and full cast (with NS and Rachel Tucker having to been paid pretty well too) And they were pretty generous with those discounted seats for a long time there. That they're trying to close on a high note and make back some of those costs these last performances, I can't blame them
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Post by chernjam on Dec 26, 2023 19:10:44 GMT
Christine Daae having a bisexual awakening does actually sound sort of compelling. The revival actually made Piangi quite overtly gay, so perhaps it’s possible! I should add context to this - and it’s incidental to the plot so I don’t think it merits spoilering - he has lots of new “business” where he flirts with the chorus boys in “Hannibal”, etc. Back to this show; what do we think the chances of a tour are? It’d be very cheap to run with a trimmed down band, and they might do well off the buzz this production received? I guess the star would be one issue. If I had to guess, that would be slim to none... there's no way they're going to want a cheap tour of this to take away from the buzz of this production with a Broadway announcement imminent... and Olivier awards only a few months away. Much better for it to maybe get some noms and awards, do well in the NY and then consider tours and such
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Post by chernjam on Dec 26, 2023 16:22:09 GMT
Seems kind of silly... I'm not a producer or have any creative contribution to Sunset in any way, but seeing this production completely sold out for the last remaining performances is made me, I don't know if proud is the word but definitely in that family. I remember feeling that way when it opened on Broadway in 1994 and was sold out for weeks - but it never closed (original or revival) productions on those types of high notes. I was at the Closing night on broadway with Elaine Paige in 1997 which was quite an event, but it really felt like a let down and somewhat of a failure at that point. And even in 2017, as great as the revival did in NY, it didn't have this type of hype and public demand for it like this new revival. Cannot wait for it to arrive "by this time next year" here in NY... only hope a recording comes out in the interim
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Post by chernjam on Dec 20, 2023 2:42:00 GMT
Nicole did a new interview with Take That and when Gary Barlow asked what's next for her, she said "we'll see what's on the horizon for sunset boulevard". Gary replied "so, no news?" and she said "there's some news, things are cooking..." Gary then said "I think big things are coming... in the big appl- big places" and they all laughed. Its pretty much confirmed at this point, now I just need the cast recording with the London cast. Seeing how there's a handful of seats available per performance left, I suppose they want to end on a high note. My guess if a recording is coming they're doing it right after the run ends on Jan 6th? (Kind of like they did with Sunday in the Park with George with Jake Gyllenhal) As for NY - while I'm eager to see it, kind of surprised that people want to rush it in this season
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Post by chernjam on Dec 19, 2023 0:43:25 GMT
For the first time in my life I have sold some theatre tickets. Was booked for Sunset this coming Thursday, but having been so impressed by Rachel Tucker 2 weeks ago I just could not face Scherzinger again. I can’t buy her as Norma Desmond at all, and all the twerking and finger snapping is cheap and classless. Relieved I won’t have to hear her impression of a foghorn again during AIWNSG. 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?
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Post by chernjam on Dec 15, 2023 19:16:26 GMT
Veering off topic (or back on topic? 😂), I wonder if they are still tweaking the mechanics of how the Act 2 opener is shot. I was at the show last night and noticed that the camera frame rate seemed to increase around when Tom walked through the doors of the foyer. It gave a motion smoothing sort of effect and made the camera movement feel much faster, especially as they headed down the stairs. I noticed it at my last visit a couple of weeks ago too. I certainly don’t recall the camera movements feeling quite so fast in earlier visits but I’m far from an expert on these things and am not sure if I’m imagining it! Obviously it’s not a major change either way but I’m just so impressed with that whole sequence and am intrigued by the behind-the-scenes work that goes into it. Have to say that whenever I've seen things multiple times (mostly Sunset on broadway ) I've always been impressed by cast and crew who continue to tweak things as the run continues, even when the end of the run is imminent. I suppose that's what makes it such a dynamic art form and collaborative between the creatives, director and cast too. Wasn't it Elaine Paige when she filled in for Betty Bucklet in London (after the emergency appendicitis) who first held the "HOME" on AIWNSG that made it kind of standard moving forward? Its cool to see that even other aspects like life-to-screen filming is being experimented with only 3 weeks left to this production.
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Post by chernjam on Dec 15, 2023 2:17:34 GMT
Few days late but Nicole spoke about the cast recording and the transfer www.bbc.co.uk/sounds/play/m001svqp (It starts at 01:04:07) She also praised Rachel Tucker and the rest of the cast. Thanks for sharing this - I really enjoyed hearing the interview in full. Really want a definitive yes (and when) the cast recording will be coming and when this is coming to NY It's amazing too, closing out the interview with the BS version of With One Look. It was the only album of hers I've ever purchased (Back to Broadway) which was released on the day Sunset was originally having its world premiere June 29th (which got pushed back till July 12 because of the set problems) Back in 1993 that was my first hearing of anything from Sunset and I must've listened to those two tracks hundreds of times waiting for the score
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Post by chernjam on Dec 14, 2023 18:10:25 GMT
I want to go back for a second watch but it's just too expensive. Got a great deal the first time round and couldn't bear spending £200 on a seat that's worse. I'm just completely jealous of everyone who seems to have been 6-10 times over the run! Like BVM I had a hunch about this one and got in early with three prebookings and bought the rest ad-hoc in the first eight weeks. At current prices, I'm out - it's a lot, even for a great show. The 2017 revival for me (of the ENO production) I saw 4 (or 5) times because I knew that having a symphonic orchestra on stage and Glenn Close reprising her role would never be seen again. Heck, I had no idea when the original closed decades earlier that it would be that long for a revival to make it to NY, and it was more nostalgia and the thrill of the live music and experience that made it so unique and special. Just reading through the 90+ pages on here is reminding me of the excitement that theatre can bring. The debates and critiques and varied opinions, reports of different experiences at various performances. And that it's over a work that I've felt is one of (if not the) finest of ALW (which nothing that he's written since has come close for me) is exciting as we here in the States wait word of a broadway transfer (and for crying out loud, a cast recording). The snippets of video and audio clips have only piqued my interest. If/when it arrives, I'll be there the first week for sure - and no doubt, several more times as the budget can allow
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