134 posts
|
Post by Kenneth_C on Jan 30, 2017 19:57:05 GMT
Mrs Lovett from Sweeney Todd. You could say she brought it on herself, but still very tragic That's funny. I don't find Mrs. Lovett to be tragic at all. She lies, she steals, she manipulates, she assists in murder, and she grinds up people and bakes them into meat pies. Next to the Judge, she's the real villain of the piece (and even he stops short of cannibalism). Sweeney is a much more tragic figure, imo. He loses his wife, his daughter, his freedom, his sanity, his daughter (a second time), his wife (ditto), and finally his life.
|
|
134 posts
|
Post by Kenneth_C on Jan 30, 2017 19:25:15 GMT
Just out of curiosity, why does Hamilton in NY have seats that say available from venue (vice resale) in Row E for November 3, 2017 at $849. Is that dynamic pricing? No, it's Ticketmaster linking to its "secondary ticketing" website, so that those who bought (touts / scalpers) can re-sell on the main site alongside regular sales. Just checked. It's a single ticket* available directly from the venue for $849 (which, as feminenemy says, is now the Premium Price in NYC). The Ticketmaster resales for that date in the same general seating area (Center, Rows C & D) are over $1,600. *Note: This is how I ended up finally seeing Hamilton on Broadway. A year ago, I started a day-by-day search starting in September 2016. I went through about 6 weeks worth of performances and had only found one single ticket available in the first week of October, located way over to the side. Not happy with the side view, I kept searching -- until I at last reached my birthday (end of October). I kid you not: There was a single ticket located dead center on my birthday. I was powerless to resist.... (Although had the price been $849 back then, I probably would have.)
|
|
134 posts
|
Post by Kenneth_C on Jan 29, 2017 8:21:47 GMT
Groff was first. Rannells replaced him. I do not think an animated character or someone from the Girls would be considered a name. Rannells also did Hedwig. He is very talented but a name to sell a show in the WE no. The tv shows you mention were and are not exactly watched by many people. Especially The Girls. I do not think a SNL player would be name recognition either. Actually, Brian d'Arcy James was the first King George. He played the part for about 6 weeks in the off-Broadway run before leaving to star in Something Rotten. Though he was certainly well-known in theater circles, he would not be considered a "name" to the general public. I think the casting of Groff (largely because he was available and was BFF with LMM) threw things a bit out of whack. Because of his "star" status ( Glee, Spring Awakening), people now expect King George to be a "name". It really makes no sense. King George is on stage for about 9 minutes over the course of 2 acts and basically sings the same song 3 times. There is absolutely no reason why you need a "name" in that part. And if anyone is enticed to buy a ticket because of such stunt casting, they are likely to be disappointed. The Chicago company seems to be doing well without a "name". I see no reason why the West End couldn't also.
|
|
134 posts
|
Post by Kenneth_C on Jan 16, 2017 20:52:18 GMT
I'd love to see David O'Reilly, I've heard great things about him. What's the low down on Cody. What are his BOM credentials? I've been trying to find a clip of him to suss him out. :-) Cody has been Elder Cunningham on Broadway and then as part of the US National Tour for the past 3 years. Personally, I've seen him several times and he is easily one of my favorite Cunninghams. Funny, tender, and just an absolute joy to watch on stage! The West End is fortunate to have him.
|
|
134 posts
|
Post by Kenneth_C on Jan 16, 2017 20:28:38 GMT
It's a bit rich that the PTB want to stamp out people getting ripped off on the secondary market when they themselves are ripping people off on the initial sale. Seems a bit sour grapey to me. Which is precisely what happened in the US. The producers of Hamilton on Broadway saw the prices that the brokers were asking and so jacked up their prices to match. Premium tickets on Broadway are currently $849 (£700).
|
|
134 posts
|
Post by Kenneth_C on Jan 16, 2017 8:41:39 GMT
Having been to LA recently, it was really great to see it in La La Land especially the Griffith Observatory and the Warner Bros lot. The street that Emma runs up after leaving the dinner with Greg & his brother is located a few blocks away from me. As an Angeleno, when I first heard about this film during production, I immediately got my back up. The term "La La Land" is usually derogatory; coupled with the fact that it was being made by this young, East Coast-born & raised director, I assumed it would be some flippant, mocking, cliche version of L.A. (See, for example, Woody Allen's Annie Hall.) But then, the teaser trailer ( "Audition") was released last summer -- and my jaw dropped at the beauty contained therein. At that point, my whole idea about this film completely flipped. I began following it in earnest and my enthusiasm only grew as it premiered to ecstatic reviews at the Venice, Telluride, and Toronto International Film Festivals (where it won the Audience Award). By opening night at the Cinerama Dome in Hollywood, my anticipation was through the roof. Friends of mine were concerned that my expectations were so high that I might be disappointed. Well, what can I say? I cannot remember the last time I so unconditionally loved a film from first frame to last. I found it rapturous, heartfelt, audacious, visually stunning, incredibly moving, ineffably sublime. It reminded me of just how utterly magical, transcendent, and transporting movies can be. And it was all set in this crazy, wonderful, maddening, incredible, frustrating, fabulous place I call home. I have now seen it 4 more times -- something I rarely do -- and my opinion has not changed. If anything, the movie has only gotten better the more times I see it.
|
|
134 posts
|
Post by Kenneth_C on Jan 1, 2017 19:45:53 GMT
More from Cody:
Cody is an absolutely terrific Elder Cunningham. After 3 years on the US Tour, moving to the London Company is a well-deserved reward.
Looks like I might be popping in to the Prince of Wales on my next visit, after all.
|
|
134 posts
|
Post by Kenneth_C on Dec 30, 2016 17:31:22 GMT
I am wondering which ones to choose, looking at KA, Love , O and Mystere any others I should look at. We are a party of adults have no interest in Zumanity . I haven't seen KÀ and was completely underwhelmed by Love, but O and Mystère were great. I also second the suggestion of Le Rêve at the Wynn. It's not Cirque, but was created by Franco Dragone (who directed O and Mystère.)
|
|
134 posts
|
Post by Kenneth_C on Dec 22, 2016 20:51:20 GMT
London (May 2016): SUNSET BOULEVARD at the London Coliseum -- with Glenn Close
New York (October 2016): SUNDAY IN THE PARK WITH GEORGE at City Center -- with Jake Gyllenhaal
Los Angeles (the rest of the time): THE BOY FROM OZ at the Celebration Theatre
Film: LA LA LAND
|
|
134 posts
|
Post by Kenneth_C on Nov 16, 2016 19:21:03 GMT
I saw Ryan Bondy as Elder Price a couple years ago, when he was the understudy for David Larsen (US Tour). I'll admit that, when I saw Ryan's name on the "At Tonight's Performance" board, I was a bit crestfallen as David was one of my favorite Prices. Well, what can I say? Ryan was absolutely terrific! In fact, he was so good that I did something I rarely do: I went to the stage door solely for the purpose of congratulating him. When he came out, we spent a few minutes talking and I was surprised to find that it was only his 14th performance in the role. I told him that, based on what I saw, I was certain that there were bigger & better things ahead. Little did I know.... He eventually moved to being the Price understudy on Broadway and then returned to the US Tour in the lead. I always hoped that I'd get a chance to see him again; unfortunately, a trip to Australia is not in the cards. But I am very happy for him. P.S. Ryan is not a "Yank". He's Canadian.
|
|
134 posts
|
Post by Kenneth_C on Nov 6, 2016 16:51:28 GMT
FYI, Gypsy has just been released on Blu-ray in the States. www.blu-ray.com/movies/Gypsy-Blu-ray/161558/#ReviewI saw this (twice!) from front-row center at the Savoy and am so happy to now have a permanent record of this production and Imelda's amazing performance.
|
|
134 posts
|
Post by Kenneth_C on Nov 4, 2016 18:46:40 GMT
"Rylance’s take is that Rice wouldn’t allow any non-amplified productions at all (in part because it would be physically impossible to take the sound and lighting rigs down in time to allow ‘shared light’ production to run in rep) and no compromise was found." I don't read this as saying the issue was whether or not the rigs could be removed. (Personally, I think that's a smoke screen.) Instead, the issue was that Rice wouldn't allow ANY non-amplified productions AT ALL and that NO COMPROMISE was found. This comment from Rylance sounds more to the point than what is quoted above: "It’s not that the Globe has to be a place where you can only do things without amplification and lights, but it’s never been a place that’s closed down what directors want to do. But if one style of production prevents everybody else from doing any other kind – which was what happened this summer – it was impossible to do anything else in there, that was a difficult situation." [Emphasis added]
|
|
134 posts
|
Post by Kenneth_C on Nov 2, 2016 20:05:57 GMT
A couple months ago, I received an email survey from the Globe. There were a number of questions, iirc, about traditional practices, lighting rigs, the Globe's reputation, amplified sound, etc.
It wasn't as blatant as I make it sound, but thinking back on it now, I suspect the survey results may have been the final nail in Emma's coffin.
|
|
134 posts
|
Post by Kenneth_C on Nov 2, 2016 14:26:34 GMT
Well, I'm in!
Took the evening performance of the day I arrive, which I don't like doing, but my slots are already filling up (The Goat and Who's Afraid of VW) and I'm trying to avoid booking anything on either my Wednesday or Saturday so I have an open day for Angels in America.
|
|
134 posts
|
Post by Kenneth_C on Nov 1, 2016 15:38:32 GMT
A rave from the New York Times: www.nytimes.com/2016/10/26/theater/review-jake-gyllenhaal-shines-in-a-joyous-sunday-in-the-park-with-george.html?_r=0And one from the Hollywood Reporter: www.hollywoodreporter.com/review/sunday-park-george-941158And one from Deadline: deadline.com/2016/10/jake-gyllenhaal-sunday-in-the-park-with-george-review-1201843154/And one from me: This was THE Theatrical Event of my year -- and I doubt anything will come along to challenge it for the foreseeable future. Going in, I had high hopes, but tried to temper my enthusiasm. Within minutes of the start, however, it became clear that it was going to far exceed my expectations. By the end, after hearing this rapturous score performed so magnificently, I was left (as were much of the audience) weeping at the sheer beauty of the experience. And Jake... Jake! OMG, Jake! (Who knew?) Clips on YouTube (like the one above, or of him in the LITTLE SHOP OF HORRORS concert last year) showed that he could carry a tune. But Seymour is one thing -- heck, even I can do a passable Seymour -- but George is on a whole 'nother level entirely. We're talking Stephen Sondheim. We're talking Mandy Patinkin. And now we're talking Jake Gyllenhaal! (Who knew?) You can apply pretty much any superlative you want to his performance. The whole night was so magical, so wonderful, so ineffably beautiful, that when I got back to my hotel room, I logged on and bought tickets to the Wednesday matinee. And, as glorious as it had been from the balcony on Monday night, it was absolutely sublime from the 6th row center!
|
|
134 posts
|
Post by Kenneth_C on Oct 30, 2016 4:15:10 GMT
Well, I saw it today and, as much as it pains me to say it, Ben Brantley's review pretty much nailed it. (Here's another from the Hollywood Reporter which also captures my feelings well: www.hollywoodreporter.com/review/plenty-review-940569It just wasn't very good. Since I am only familiar with the movie (and saw that eons ago), I can't tell how much of the blame rests with the cast, the director, the play itself -- or some combination of all 3. The first act moved at a fairly glacial pace, frequently teetering on boredom. And things weren't helped by the abrupt change in Susan Traherne's character during the "Suez Canal Dinner Party" that ends the act. Whereas she had merely seemed headstrong and unconventional before that, she suddenly broke out into outright craziness. Said craziness continuing, then, throughout the second act (which at least made it less boring than the first). I'm sure the final scene was supposed to be an ironic knockout, but it just fell flat. Audience response was polite, with maybe half standing for Rachel's curtain call. A major disappointment.
|
|
134 posts
|
Post by Kenneth_C on Oct 30, 2016 3:50:59 GMT
The Luke isn't much of a part is it? S'pose being gazed at is similar to acting. I'm dithering over this one, to book or not to book. It's only a 4-character play, and Nick (the part Luke is playing) is onstage for most of the time. In addition to witnessing and taking part in the "fun and games", he has a key scene alone with George at the beginning of Act Two. There may be no small parts, only small actors. But, in this case, Nick is definitely not a small part. FYI, George Segal played Nick in the film, and was nominated for an Academy Award as Best Supporting Actor. (All of the actors were nominated, with Liz winning Best Actress and Sandy Dennis winning Best Supporting Actress. How Burton didn't win for Best Actor remains a mystery.)
|
|
134 posts
|
Post by Kenneth_C on Oct 28, 2016 4:44:46 GMT
Surprised this hasn't been reported yet. Per tweet from Baz:
Luke Treadaway has been cast as Nick, and Imogen Poots will play Honey.
|
|
134 posts
|
Post by Kenneth_C on Oct 22, 2016 0:57:54 GMT
I also adore this play, altough I never had a chance to see it on stage. Would love to hear more about the New York production if anyone sees it! I have a ticket for next Saturday, and will be happy to report back. I've only seen the movie starring Meryl -- and that was eons ago -- so am very much looking forward to seeing it on stage. (And with Rachel, to boot!)
|
|
134 posts
|
Post by Kenneth_C on Sept 24, 2016 22:16:45 GMT
So... is it a good play? Never seen the film. One of the greatest plays of the American Theater. And with this cast, I'd say it's a "Must See". (Since they were so nice as to schedule it during my next visit to London, I've already booked.) I liked James Macdonald's direction of Bakkhai at the Almeida, and I see that he has also directed Albee's A Delicate Balance. So hopefully we'll have someone in tune with the piece and who won't muck it up. (Yes, I'm talking about you, Benedict Andrews....)
|
|
134 posts
|
Post by Kenneth_C on Sept 23, 2016 18:20:29 GMT
Just back from the US screening. This was filmed more like a film - than a film of a stage production. Lots of cross-cutting. Lots of close-ups. There was a lot of work done editing this film. Indeed, midway through I thought, there is no need to do a full length movie, because this "feels right". Some sequences lost some of their impact (a filmed helicopter just isn't as cool as a live helicopter). Some of the choreography got lost (The Heat is on in Saigon; Morning of the Dragon and even What A Waste (Bangkok)). Biggest improvement was that Tamsin Carroll didn't look 20 years older than Alistair Brammer as she did on stage! Biggest complaint - a five minute interval between acts, but a ten minute interval from finale to the start of the gala. And of course, as this was in the US, we didn't get ice cream. But, it was just spectacular. I saw the cinema screening last night, too, after having seen this production in the West End last year. The extensive use of close-ups, cutting, superimpositions, split screens, etc. took some getting used to. Right at the beginning, for example, I kept expecting a good long shot of the whole "Dreamland" set. Never got it. In fact, you could probably count on two hands the number of times you see a "standard" stage view in the whole presentation. I agree that it does affect your assessment of the sets & choreography, but that is offset somewhat by providing an even-more-intense view of the performances. I think this cinematic approach also has the benefit of not adversely affecting future theatrical productions (touring, NYC, whatever) and is more likely to drive business to productions, instead of taking it away. (That Cameron Mackintosh sure is a sly one....) Like the Phantom or Les Miz 25ths, this presents someone with a somewhat different experience than they'd get from a live, staged version. Once I understood that, I was able to relax and just let the music, the images, and the performances wash over me. And, yes, it was just spectacular.
|
|
134 posts
|
Post by Kenneth_C on Sept 15, 2016 4:43:21 GMT
Isn't Brian Sears getting any better? Haven't seen the show since before the cast change and I was hoping that he maybe is improving in the meantime... I first saw him with Nic in Sept 2015, then with Oliver in May of this year. If anything, I disliked him more than I had earlier. He is far and away my least favorite Cunningham (out of the 9 I've seen). I find it hard to feel like Elder Price is being a dick when he's clearly been stuck with a gibbering idiot as a mission companion. Fortunately, Sears does dial it down a bit in the 2nd Act. Truth be told, I didn't particularly care for Ben Platt's somewhat similar Cunningham on Broadway, either. After seeing Sears the first time, I thought that maybe I just didn't like a "weird white guy" Cunningham, as opposed to a "fat white guy". (For those who don't know, they change the lyric in "Man Up" from "fat" to "weird" depending on the type of Cunningham.) I thought that maybe the "weird" Cunninghams were directed to amp up their needy geekiness to super-annoying levels, in order to accentuate their difference to Price and the other Elders (whereas a "fat" Cunningham already had his physical form working against him in that regard, so he could be nerdy without having to be quite so obnoxious about it). But then I caught A.J. Holmes on tour in the U.S. He's another "weird" Cunningham, but he nailed the part without making the character a cartoon or turning the audience off in the process. How the West End went from him to Sears is puzzling. I see that David O'Reilly is still a Cunningham stand-by. I saw him early on (with both Gavin & Ashley) and thought he was very good. I certainly expect he's gotten better over time.
|
|
134 posts
|
Post by Kenneth_C on Sept 14, 2016 21:48:34 GMT
Saw this again fairly recently with Oliver Ormson as Elder Price. Probably the one of the best Prices I've seen in London. The show is still incredibly fresh I happened to see Oliver Ormson when I was in London last May and I agree. He was absolutely wonderful! As he was the 10th Elder Price I've seen, you have to hit a pretty high mark to make an impression on me. (Now, if only they'd do something about Brian Sears....)
|
|
134 posts
|
Post by Kenneth_C on May 16, 2016 9:05:24 GMT
First of all, I want to thank this board for making me aware of this show.
Saw it last night (Sunday the 15th) and the subs/replacements were:
Sarah Naudi - Nina Vas Constanti - Kevin Johnny Bishop - Sonny Spin - Graffiti Pete Michael Cortez - Piragua Guy Courtney-Mae Briggs - Carla
Terrific show! The performances, singing, dancing, etc., were all top notch. The only issue I had with the piece had nothing to do with this production, but rather with the material. I found the book to be rather wonky: First a lot of small, loosely-connected character scenes, and then three almost-simultaneous BIG game-changing events. I just didn't feel the show earned the emotions it was trying to evoke in the second act.
None of this prevented me from being extremely impressed & thoroughly enjoying it, but it was just enough to keep the musical itself from being in my top rank.
|
|
134 posts
|
Post by Kenneth_C on May 8, 2016 3:06:34 GMT
If it's going to be laughs only, though, I'd rate this higher if it had more of them, like Mischief Theatre's (only partly musical) new show, which piles them so high, it's staggering. To each his or her own. I saw both TOXIC AVENGER and BANK ROBBERY on the same day last week, and laughed longer & harder throughout TOXIC. There are many brilliant bits in BANK ROBBERY but parts were just not as funny (to me) as they were obviously intended to be. Whereas I found TOXIC to be consistently hilarious. Personally I'll take TOXIC'S one-woman/two-character "Bitch/Slut/Liar/Whore" over BANK ROBBERY'S one-man/three-character fight scene any day.
|
|
134 posts
|
Post by Kenneth_C on May 3, 2016 8:02:20 GMT
I saw the show last night.
Now, as a Yank, I know next to nothing about Sheridan's performance history, reputation, tabloid encounters, etc., etc. But what I do know is that I saw her give an amazing performance last night. From the second she appeared, she owned that stage and held the audience in the palm of her hand. And she did it by BEING Fanny Brice and not as "Sheridan Smith playing Fanny", if you get what I mean.
So what if her voice doesn't swoop and swirl like Streisand's? She sounded very strong -- and she acted the hell out of the part. I didn't think it was possible to get chills from hearing "People" for the 1000th time, but Sheridan gave them to me.
I thought the whole cast was strong, and was particularly impressed with Darius. He matches Sheridan scene-for-scene, and I completely bought the dynamics & chemistry between them. (I only wish he had more songs, as his voice was terrific.)
I went 'round to the stage door after, where at least one *reporter* was in wait. (I heard him interviewing people as he scribbled on his note pad: "How do you think Sheridan did tonight? Are you aware of the problems from the other night?" etc.) Darius and Sheridan came out within a few minutes of each other, and were both absolutely delightful with the fans. I even got a hug from Sheridan -- which she initiated.
Altogether a wonderful evening.
|
|
134 posts
|
Post by Kenneth_C on Apr 24, 2016 1:35:09 GMT
I would love it if they make an announcement that Ria will do all matinees going forward. Totally being selfish and masterminding a way for me to guarantee seeing her. Whereas I have ticket to a matinée, so am not too keen on your idea. Seriously, even though Ria sounds wonderful, I would still be disappointed not to see Glenn in the role again. (In no small part due to nostalgia, having seen her in the original L.A. production.) But my biggest concern -- if I'm reading this thread correctly -- is that if ENO did institute such a change, they'd probably tell those of us holding matinée tickets to just get over it. And that bothers me because, being in the UK for only a couple weeks, there are other plays/musicals I could be attending in that slot (and at far less cost). Now, here in the States, the unwritten "rule" is that, if a name appears ABOVE the title, refunds are given if said name does not appear. So if, say, Bette Midler is listed ABOVE the title "Hello Dolly" next season, and she does not appear for a performance, I would expect refunds (or exchanges) to be given with minimum fuss. Whereas, if the understudy goes on for Lin-Manuel Miranda in "Hamilton", it is completely within the discretion of the box office whether they will refund/exchange or not. That's the way I've always heard it to work, at least -- never having been put in the position of having a Big Name not appear.
|
|
134 posts
|
Post by Kenneth_C on Apr 22, 2016 17:03:40 GMT
I'll be heading across the Pond in a few weeks, and currently have 9 shows booked for the 12 nights I'll be in London.
FUNNY GIRL THE COMEDY ABOUT A BANK ROBBERY SUNSET BLVD. DOCTOR FAUSTUS X SHOW BOAT THE BOOK OF MORMON PEOPLE, PLACES & THINGS ROMEO & JULIET
If I choose to do any 2-show days, I could squeeze in a few more. (Also have an open Sunday.)
|
|
134 posts
|
Post by Kenneth_C on Mar 13, 2016 7:27:07 GMT
DISCLAIMER: I hate topics like "Most Overrated" etc., because it presumes that YOUR OPINION matters more than anyone else's. (100,000 people LOVE something, but you're the ONLY PERSON who sees it for the dreck it really is.) However, it's nice to see many people in this thread have included statements like "It didn't work for me" or "I personally...." in their remarks. So, congrats on that. (Otherwise, I'd think some of you were bonkers.) Finally, just listing titles doesn't cut it. You should make a comment or two, at least. And so, with that in mind, I dive in:
THE SOUND OF MUSIC -- The movie is OK, but it wasn't until recently that I saw a production of the stage version. Wow. Let's just say that my appreciation for Ernest Lehman (adapter/screenwriter for the film) went up immeasurably. Talk about making a silk purse out of a sow's ear...
BILLY ELLIOT -- I'm a fan of the film. To this day, I'm still trying to figure out why I felt so completely unengaged by the stage musical.
ONCE -- Another film I like, but the stage version was about as exciting as watching paint dry for 3 hours. Yawn....
Speaking of paint drying: THE LION KING -- After "Circle of Life" and one or two other numbers, the show has pretty much shot its wad. What you're left with is a 90-minute animated film that has been blown up out of all proportion to twice its length. (I even saw it twice -- a dozen years apart -- to see if my initial reaction still held. It did.)
While we're on the subject of Disney: MARY POPPINS -- I love the movie, and pretty much hated the stage version. A major disappointment for me. (Please, don't give me that stuff about it being closer to Travers' vision. I've read the books, too, and still find the stage musical completely underwhelming.)
WICKED -- Another show I've visited more than once over the years. I actually like the first act. But the second? Ugh. As it tries to warp itself into some semblance of the story we know from THE WIZARD OF OZ, it collapses. Lackluster songs and re-visited sets don't help matters at all.
|
|
134 posts
|
Post by Kenneth_C on Jan 29, 2016 7:08:11 GMT
Long-time lurker at the old board; hoping to get in on the ground floor at this one.
I'm a huge theater buff. Live in L.A. and travel to London, on average, every year and a half. Also to NYC/Broadway every other year.
Next trip to the UK is scheduled for early May 2016.
(My avatar is the program for the Almeida's BAKKHAI, signed by Ben Whishaw.)
|
|