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Post by stevejohnson678 on Jan 25, 2024 16:24:31 GMT
I’m just terrified that people are playing the Live Aid artists in some way so that we get ‘tribute acts’, rather than an original tale told with Live Aid as its backdrop. Saw or read an interview with one of the creatives who was adamant it wasn't going to be that (or & Juliet style intros to the songs).
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Post by stevejohnson678 on Jan 23, 2024 18:08:54 GMT
Oooh. What do we think? Full cast for the Lowry or maybe a West End run? I absolutely loved this when I saw it in concert last year. Pretty sure it will be a cast announcement for The Lowry. There's a private preview event, featuring interviews and performances of some of the songs, taking place at The Lowry tomorrow afternoon.
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Post by stevejohnson678 on Jan 23, 2024 14:04:45 GMT
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Post by stevejohnson678 on Jan 22, 2024 17:11:00 GMT
I notice on one of the promo videos on the offifial website the show has been done "in the round".I wonder if @sohoplace would be a good venue for the show.Once again it can't go there till May as another show is already booked to replace "Things" in March. That was the first iteration in Edinburgh when there was little in the way of a set. It's not being staged in the round anymore.
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Post by stevejohnson678 on Jan 22, 2024 12:11:20 GMT
Can’t wait to see this. Any idea how soon it may be opening? Not until May at the earliest. Another production was announced for March until May at the Ambassadors today.
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Post by stevejohnson678 on Jan 16, 2024 21:55:54 GMT
Bought a ticket forthe online screening but getting a 'Sorry Can't Find That' message despite following all the directions. Anyone else get in? The original link was wrong, they've sent a second email with the correct link now.
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Post by stevejohnson678 on Jan 15, 2024 20:36:40 GMT
For anyone who missed this, or wants to enjoy it again, it's available to stream on the Orange Tree Theatre website this week. It can be streamed on demand from Tuesday 730pm until Friday 1159pm for £15. Thanks for the reminder. I just looked at the booking page on the theatre’s website, and I’m confused about why I have to choose one of the four dates. If it’s available to stream “ any time [emphasis added] between 7.30pm GMT on 16 January 2024 and 11.59pm GMT on 19 January” (as the website says), what difference does it make which of the four dates I choose? My concern is that if I choose (for example) Tuesday and then for whatever reason I can’t stream it on Tuesday, I’ll be locked out of streaming it on Wednesday, Thursday, or Friday. I’m probably imagining difficulties where there are none, but if anyone can clarify I would appreciate it, and thanks in advance. I would ask the theatre, but I don’t see a “contact us” email, just a phone number. You can choose any of the advertised dates and times and access the stream anytime from Tuesday evening to Friday evening. Guess it must be that they need to choose start dates and times to fit their booking system and keep it listed on the website throughout the streaming period.
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Post by stevejohnson678 on Jan 15, 2024 18:38:35 GMT
For anyone who missed this, or wants to enjoy it again, it's available to stream on the Orange Tree Theatre website this week.
It can be streamed on demand from Tuesday 730pm until Friday 1159pm for £15.
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Post by stevejohnson678 on Jan 10, 2024 23:09:20 GMT
Sad to see that my prediction that this wouldn't receive the anticipated mauling from critics was as bad as the reviews.
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Post by stevejohnson678 on Dec 31, 2023 20:03:01 GMT
This show is like a sugar rush. Enjoyable in the moment but instantly forgettable on leaving the theatre.
Paul Zerdin appeared to be going through the motions and while Jennifer Saunders looked to be having a great time, something was missing for me that no amount of "darlings" or "sweeties" could save.
I found Tink quite irritating. Not a reflection on Rob Madge but as a character, Tink seemed to spend almost every moment they were on stage expressing their jealousy of Wendy! Over and over again.
You can see where the money goes and as a spectacle it really delivers, but it's all a bit soulless and stale. One clear exception to that was the lovely, heartfelt tribute to Paul O'Grady. There's a nice article in the programme about Paul's previous Palladium panto stints too.
Julian Clary and the lovable Nigel aside, I'd love to see them freshen up the lineup next year. That said, and despite its shortcomings, this is still event theatre that feels like a must-have in the calendar. That fear of missing out will no doubt mean I'm back at the Palladium next Christmas regardless of any misgivings and irrespective of what the 2024 panto offering might be!
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Post by stevejohnson678 on Dec 31, 2023 19:46:20 GMT
Saw this last night and thoroughly enjoyed it.
75 minutes straight through, there's jump scares and some terrifying moments involving Janet, the younger of the two daughters in the family, as well as a human incarnation of the house's ghostly presence. Those moments punctuate an evening, the overnight period and the following morning in Enfield's most notorious residence.
Making her professional stage debut, Ella Schrey-Yeats is mesmerising as the haunted Janet, especially in the possession scenes, drawing gasps from the audience. I also enjoyed Grace Molony as the elder daughter, Margaret.
If Grace brings some of the play's lighter and comedic moments as a flirtatious teenager, and Ella some of the most frightening, it's all grounded in David Threlfall as paranormal investigator Maurice Grosse. His motivations first seem a curious obsession, then somewhat sinister and ultimately rather heartbreaking. It's a nuanced and subtle performance in a play that toys with the audience's perception of his character. Less subtle but noteworthy nevertheless is Daniel Stewart as Man, the house's former -and now deceased - occupant, who prowls in the shadows and provides a menacing presence in some of the show's most dramatic moments.
Catherine Tate is perfectly fine as the mother but, despite the substantial stage time, her character is peripheral to most of the key events, reacting to them, discussing their impact on her children and longing for normality. This isn't really her story.
The two-level set looks magnificent. It's hard to imagine how they could have brought 284 Green Street to the stage any better. Cameras, set up in the bedroom to record any movement during the night, give flashes of light during scenes of paranormal activity. This proves a clever way of enhancing the disconcerting nature - and ambiguity - of what's happening to the house's residents.
Overall, I felt this was a more cohesive whole - and a more satisfying ending - than 2:22 A Ghost Story. It also delivers more genuine scares, rather than relying on loud noises at the end of scenes like 2:22. Even something as simple as an apparently sleeping Janet's eyes bolting open immediately grabs the attention.
There was only really one scene that dragged a little for me, the rest has presumably been tightened considerably since the Richmond and Brighton performances. That said, I'd have liked more dialogue involving Janet, to get to know her as a person better, especially as so much of what's happening in the house is centred on her, not her mother. A few more moments of paranormal activity would have been welcome too, that's what the audience are there for after all, particularly since those moments that are included are so well executed and exhilarating. The Enfield Haunting is in much, much better shape - and far more absorbing - than the early feedback would suggest.
It looked like a full house at the Ambassadors last night. A fully engaged audience of all ages, with no one making an early exit (but some bafflingly late arrivals, including one couple taking their seats an hour in). There was enthusiastic applause and cheers for the cast at the bows. This is in four-star territory for me at the moment, with the potential to improve even further.
If you were tempted to see The Enfield Haunting at the Ambassadors, only to be deterred by the comments from the Richmond and Brighton dates on Facebook, I'd recommend giving the show a second chance and making your own mind up. I really don't expect this will receive the collective mauling from next week's press night that once seemed inevitable. I found it an absorbing, sometimes humorous snapshot of a notorious haunting that delivers some standout scares and plenty of food for thought. I'm happy to have seen it.
And if there happens to be a revival of The Exorcist in the offing, get Ella Schrey-Yeats signed up for it right away!
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Post by stevejohnson678 on Dec 27, 2023 17:42:24 GMT
The Little Big Things and The House of Bernarda Alba tomorrow.
Peter Pan at the Palladium and The Witches on Friday.
She Stoops to Conquer and The Enfield Haunting on Saturday.
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Post by stevejohnson678 on Dec 18, 2023 10:43:17 GMT
Is it really essential to have characters smoking herbal cigarettes for much of the performance, particularly in an intimate space like the Almeida? It feels like a choice rather than necessity. Would any theatregoer feel any less immersed in the time or setting without it?
Warnings given or not, it seems to show a fairly flagrant disregard for the audience given smoking in indoor public spaces is otherwise not permitted. I know I certainly wouldn't want to spend an evening breathing in the smoke of cigarettes on stage, herbal or otherwise.
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Post by stevejohnson678 on Dec 14, 2023 10:14:10 GMT
There's transcripts from each court session available here for anyone interested in following the proceedings in depth: tribunaltweets.substack.com/p/appeal-seyi-omooba-v-michael-garrettSeveral are truncated due to technical issues with the video feed from the courtroom but there's enough that is covered to get a good overview of the key arguments of each party.
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Post by stevejohnson678 on Dec 13, 2023 17:04:16 GMT
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Post by stevejohnson678 on Dec 13, 2023 10:00:08 GMT
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Post by stevejohnson678 on Dec 12, 2023 14:57:09 GMT
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Post by stevejohnson678 on Dec 12, 2023 10:51:44 GMT
Saw this last night. The creative team have done a great job transforming the auditorium into a 1940's railway station, with some nice little touches dotted round the rest of the building. How they bring the sights and sounds of the station to life, especially that of passing trains, is cleverly done.
The main problem for me is the lack of chemistry between the two leads. I never felt emotionally invested in them together as anything other than lonely soulmates. The moment when they consummated their relationship bordered on unintentionally comical, it's all so prim and proper.
There's great work from the supporting cast members. Christina Modestou's sharp remarks as Myrtle are a joy but it's arguably Ida Regan who steals the show as timid waitress Beryl. Ida, who was terrific in The Comedy of Errors (More or Less) earlier this year, confirms her status as an emerging talent here with a performance that subtly shifts from endearingly awkward as Beryl gains in confidence. Her sultry, powerful rendition of Mad About the Boy is an unexpected delight. Matthew Allen is a charming presence on stage too. He shines during the dance sequence in act two and shows his versatility in a number of roles, including joining the on-stage band.
It's just a shame that despite some excellent individual performances here, and the cast as a whole working well together, the central relationship is never fully convincing. There's some beautiful moments along the way but it never really feels like there's anything much at stake.
Three and a half stars.
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Post by stevejohnson678 on Dec 10, 2023 10:24:46 GMT
Saw this yesterday evening as part of a two-show day in Leeds and it's truly spectacular.
Frankie Hart was playing Nancy, having made her debut as 1st cover for the role the previous evening. She was brilliant and brought the house down with her As Long As He Needs Me. It looked like she was taking in and soaking up every moment of the rapturous standing ovation the cast received at the bows. Rachel Clare Chan was covering Bet and Martha Pothen as Mrs Sowerby.
The atmospheric scaffolded set, how they bring the action out into the auditorium (Newsies style), the characterisation and portrayals of Fagin and Bill Sykes, the infectious energy of the company, the breathtaking choreography, the sense of danger and menace that hangs in the darkness... The execution of every aspect of this outstanding production is simply flawless. I'd Do Anything and Consider Yourself are standout moments but the staging of Who Will Buy makes that a highlight too. This is an Oliver reimagined and like no other.
And where to begin with the talent they've unearthed for the principal child roles and throughout the diverse young ensemble? Felix Holt in particular is a revelation as Dodger.
All in all, this was a day of two very different but equally outstanding shows. If anyone is heading to Leeds in the.coming weeks, I can 100% recommend making a day of it and seeing both Oliver and the equally outstanding Robin Hood: The Rock and Roll Panto at City Varieties Music Hall, around 10 minutes walk from Leeds Playhouse. Both shows have been receiving five-star reviews and the hype is real!
Surely this production is going to have a future life? It's hard to imagine how any other version of Oliver planned for the West End or elsewhere could live up to this. It's a thrilling, exhilarating, heart wrenching triumph for Leeds Playhouse. Let's hope Cameron Mackintosh is reviewing the situation and ready to do anything to bring it to London or on the road. If not, I'd do whatever it takes - even pick a pocket or two - in order to see this in Leeds.
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Post by stevejohnson678 on Dec 9, 2023 18:09:05 GMT
Two show day in Leeds today.
Robin Hood: The Rock and Roll Panto at City Varieties this afternoon.
Oliver at Leeds Playhouse this evening.
Brief Encounters at the Royal Exchange in Manchester on Monday.
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Post by stevejohnson678 on Dec 9, 2023 17:45:41 GMT
Made my annual visit to City Varieties in Leeds this afternoon for their rock and roll panto. Robin Hood is surely their best yet! For the second year running, it's certainly in a different league to the Liverpool Everyman's rock and roll panto offering.
This is everything panto should be. Joyful chaos, zany characters, and innuendo and jokes by the bucketload. A complete riot from start to finish.
City Varieties regular Simon Nock has the audience in the palm of his hand from the second he appears on the stage as Nanny Nellie. He's at the helm of a brilliant cast of actor musicians who treat the audience to a score that's as eclectic as it is electric.
Highlights include Louise Beadel and Hannah Baker performing Lizzo's About Damn Time and Lucy Keirl and Samuel Pope's act one finale of Bruce Springsteen's Born to Run.
The running time of 2 hours 45 minutes absolutely flew by. The frenetic pace never lets up and there are so many laugh out loud moments.
An easy five stars from me. This is rock and roll panto at its very best.
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Post by stevejohnson678 on Dec 7, 2023 22:52:06 GMT
Actually seeing some positive reviews about it today on social media! Maybe in its streamlined format it's turned a corner. Well, positive is a stretch. It is more like they didn't mind it. And consider a lot of people are going in with the lowest standards. "We liked it", "Much better than expected" - I'd say "positive" is a fair description of those comments.
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Post by stevejohnson678 on Dec 7, 2023 19:38:42 GMT
The interval has been cut and the running time is now a mere 75 minutes straight through. Wondering how long until the scripted show is cut to 0mins, and they just let people in and say it's a ghost onstage. Actually seeing some positive reviews about it today on social media! Maybe in its streamlined format it's turned a corner.
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Post by stevejohnson678 on Dec 7, 2023 18:30:22 GMT
The interval has been cut and the running time is now a mere 75 minutes straight through.
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Post by stevejohnson678 on Dec 7, 2023 10:06:01 GMT
Coming to The Lowry from Tue 29 Oct - Sat 2 Nov 2024. On sale to members now, general sale tomorrow at 10am. It's in the Lyric Theatre at The Lowry which is a bit of a surprise, considering it's in the Courtyard at Leeds Playhouse.
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Post by stevejohnson678 on Dec 6, 2023 17:49:41 GMT
Ramin announcing something at 5pm today. What did he announce? I can't see anything online anywhere? A live stream. Nothing to do with Jekyl and Hyde.
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Post by stevejohnson678 on Dec 6, 2023 10:23:43 GMT
When's opening night. What do previews run to Press night is Thursday 18 July.
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Post by stevejohnson678 on Dec 6, 2023 10:17:40 GMT
Not discounting previews seems to be a new trend in the West End. I'm going to pass on this too at those prices.
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Post by stevejohnson678 on Dec 2, 2023 22:37:22 GMT
First report from the Ambassadors is in on the Facebook page - "what a pile of rubbish!!".
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Post by stevejohnson678 on Nov 30, 2023 20:45:21 GMT
The scenes at Shenton Towers when one of those dastardly bloggers gives this a rave review and gets their quote on the marquee!
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