43 posts
|
Post by sayers500 on Apr 2, 2019 20:48:46 GMT
Their reply to me asking if any would be released tomorrow was to say to check nearer the performances which I took to mean that they wouldn't release any tomorrow.
|
|
43 posts
|
Post by sayers500 on Apr 2, 2019 16:06:47 GMT
Booking the summer season today and found out that no tickets have been kept for general booking for The Diary of One who Dissapeared and is totally sold out. Surely for an organisation that gets a large amount of public subsidy, they Royal Opera has a responsibility to make sure that the public actually get to see their shows and not just those who pay large sums for early booking!! I thought they would have rectified the Linbury issue after Berenice and Phaedra had exactly the same issue.
|
|
43 posts
|
Post by sayers500 on Jan 28, 2019 20:02:12 GMT
There are a load of tickets on general sale for this on the website for the performance tomorrow and the Thursday and Saturday matinee!
|
|
43 posts
|
Post by sayers500 on Apr 19, 2018 7:44:17 GMT
New programme announced!
|
|
43 posts
|
Post by sayers500 on Apr 4, 2018 12:31:07 GMT
Quiz matinee going ahead. Start time moved to 3pm
|
|
43 posts
|
Post by sayers500 on Apr 4, 2018 9:35:34 GMT
Quiz twitter account says that there'll be an update at 11.15. Brilliant scheduling from me, booking traviata last night and Quiz this afternoon!!!
|
|
43 posts
|
Post by sayers500 on Mar 3, 2018 1:06:51 GMT
|
|
43 posts
|
Post by sayers500 on Aug 23, 2017 14:00:03 GMT
Intresting info from the Sondheim talk yesterday. John Tiffany wanted to do an all-male version of Company and had a reading for it but the concept didn't work. Wasn't sure if this was public knowledge but would have been interesting to see.
|
|
43 posts
|
Post by sayers500 on Aug 3, 2017 22:36:19 GMT
Just back from today's matinee. A few minor reservations but overall loved it. I saw Sir Trev's version at MCF and adored that but this is almost in that league and what a fantastic, near perfect, musical it is with humour and poignancy exquisitely balanced. Design/costumes: A handsome, classy looking show.A single set, but very atmospheric and really lovely lighting effects. The auditorium absolutely matches the set in a way that is hard to explain but you'll know what I mean if you go. That actor/musician malarkey: I'm really no fan of this but it really didn't get in the way. Just occasionally when Frederick or The Count where holding respectively a trumpet and a soprano sax and then only contributed two notes at the beginning or end you thought, why bother? Particularly as a) loads of other instruments were playing and b) they were left holding their instruments throughout the song. Direction: Really skilfully done with seamless transitions. Performers: No real weak links. Maybe Frederick could have had more personality but his singing was excellent. Both Desiree and the Count really strong. Dilly Keane an excellent Madame. She times her one-liners well and was better than Lipman. For Liaisons she channels her inner Gingold. Overall: I was quite anxious about this since I love it so much. It's a tough piece to perform, probably his hardest next to Passion and Sweeny. I thought the actor/musician shtik would compromise standards, but they are very high. Tunick's original orchestrations are masterful but it has been so skilfully re-arranged that most of the Ravel-like original remains. (Some stonking clarinet in Send in the Clowns.) .....and is there a nicer theatre in Britain to visit? I was also at the matinee and totally agree with you. My minor quibble was Henrik who seemed to struggle through Later and Anne's piccolo playing during Now which seemed to jar.
|
|
43 posts
|
Evita
Aug 3, 2017 22:33:01 GMT
via mobile
Post by sayers500 on Aug 3, 2017 22:33:01 GMT
To be fair, this is the only bad review in a barage of glowing ones and the comments on the social media posts of this review seem to wildly disagree. It seems that we that hated it are in a minority.
|
|
43 posts
|
Post by sayers500 on Jul 31, 2017 9:56:49 GMT
2 tickets for each remaining date have just been released on the website
|
|
43 posts
|
Evita
Jul 29, 2017 22:00:23 GMT
via mobile
Post by sayers500 on Jul 29, 2017 22:00:23 GMT
When you say the girl crumpled, what do you mean? I hope she's OK. Not physically crumpled, she just couldn't get through her solo, started off out of key and then lost confidence. Luckily, the actor playing her mother joined in to help her out.
|
|
43 posts
|
Evita
Jul 29, 2017 21:43:07 GMT
via mobile
vabbian likes this
Post by sayers500 on Jul 29, 2017 21:43:07 GMT
My first time seeing Evita and this production and I have rarely been so angry at a piece of theatre to the extent that I almost did a Parsley! Hatton is extraordinary as Eva but is let down by a creative team of mediocre men who seem to lack a shred of artistic integrity. If these people are expecting punters to pay West End prices, they should present a show that is up to West End standards. Instead, they have presented us with a clunky, inelegant and impractical set, lighting design that wants to blind the audience and sound design that makes the Phoenix sound like a barn (it's only the first few performances but I think it's unlikely to change that much). Schiaretti lacks charisma as Che and just seems to breeze through the show and the child soloist, god bless her, totally crumpled. It seemed like she hadn't had enough preparation and was unfairly thrown into the situation. I am really fond of the score but the electronic strings made it sound so artificial. A man clearly agreed with me at the interval, making a real fuss towards the end of the interval to the steward with a quiet auditorium listening to every word. Hatton is an incredible Eva, encapsulating her determination and vulnerability and in a different production, her performance would make a greater impression. However, like most of the productions of his that I've seen, Kenright has destroyed the brilliance of the source material and I cannot and will not sit through another show produced by that man.
|
|
43 posts
|
Post by sayers500 on Jul 18, 2017 10:38:38 GMT
Quando Me'en Vo from La Boheme +1 for the Meistersinger quintet +1 Final trio for Der Rosenkavalier Take Good Care of yourself from Marguerite Opening doors from Merrily we roll along Ladies in their sensitivities from Sweeney Todd The frogs from The Frogs Company from Company Another winter in a summer town from Grey Gardens- a really simple countermelody that leaves me in tears every time The finale of Grand Hotel Also thought that this technique has been used in plays quite a bit recently especially in Anatomy of a suicide, The Homosexuals guide to capitalism and socialism with a key to the scriptures and Angels in America. Are these genuinely all your favourite CP moments or are you just listing every example of couterpoint you can think of? haha. For my music GCSE composition a few years ago I had to create a song from a musical and used counterpoint as a jumping off point. To be honest, any song with that technique is likely to become my favourite song in a musical.
|
|
43 posts
|
Post by sayers500 on Jul 17, 2017 23:42:35 GMT
Quando Me'en Vo from La Boheme +1 for the Meistersinger quintet +1 Final trio for Der Rosenkavalier Take Good Care of yourself from Marguerite Opening doors from Merrily we roll along Ladies in their sensitivities from Sweeney Todd The frogs from The Frogs Company from Company Another winter in a summer town from Grey Gardens- a really simple countermelody that leaves me in tears every time The finale of Grand Hotel
Also thought that this technique has been used in plays quite a bit recently especially in Anatomy of a suicide, The Homosexuals guide to capitalism and socialism with a key to the scriptures and Angels in America.
|
|
43 posts
|
Post by sayers500 on Jul 11, 2017 12:08:52 GMT
I saw it last Saturday and found it a tad stilted. A lot of RSC gesturing without really conveying real emotion and I think the transfer from the thrust layout of the Swan to the proscenium of the Haymarket has led to a more squashed staging. I was really impressed by Emma Cunniffe as Anne but I thought the standout was Jimmy Garnon, an ex-globe regular who brings a joyous manipulative turn in what is effectively an audition to play Iago. I think the play itself is great but needs a theatre where grand declarations are accepted rather than seen as odd and out of place (I think the Swan must have been a good stage for this and can imagine a successful revival at the Globe much like the Heresy of Love).
|
|
43 posts
|
Post by sayers500 on Jul 11, 2017 11:37:11 GMT
Sunday The OBC cuts a lot of lyrics in Putting it Together and Color and Light but is still far and away the best recording. As much as I adore Evans and Russel, they are no match for Peters and Patinkin. Also, the full orchestra on the OBC and the nice extra tracks like the cheesy Julie Walters putting it Together and the Carnegie Hall recording of Sunday makes it my favourite. The 2006 recording also includes too much dialogue for me which tends to annoy me, especially when they have full tracks which are just dialogue!!
Company The John Doyle/ Raul Esparza recording of Company is my favourite as it escapes that 70s feel of the OBC because of the new orchestrations and it has the most tuneful rendition of 'the Little things you do together' with other versions just tending to descend to gruff shouts. I have a soft spot for the Donmar recording though, and love to hear Adrian Lester Rebecca Front, Sophie Thompson, Anna Francolini and Clive Rowe (incidentally whose Enoch on the National's recording of Carousel is astonishing!). They are incredible and it's fascinating to hear people like Rebecca Front who never really is on stage nowadays take a part in that show. The film of that production is on YouTube and definitely a favourite film recording of mine (certainly a million times better than the NPH concert staging).
Assassins Have only ever listened to the OBC which is pretty great!
West Side Story I will always love the film soundtrack. I also occasionally listen to the Carreras/ Kiwi the Kanawa recording which is hilarious as it shows that opera singers can't necessarily turn their hand to musicals and be as brilliant (te Kanawa's recording of My Fair Lady with Jeremy Irons is another entertaining example). Their is a pretty funny Toutube video of Carreras trying to record 'something's coming' and Bernstein getting furious as he rushes every time.
Merrily It's interesting comparing the OBC to subsequent recordings to examine the structural and lyrical changes. My favourite is the Friedman/ Pappas Leicester recording which has the most heart and the least dialogue. I also like the Lin Manuel recording but I find it unforgivable that 'Good Thing Going' is shared between Frank and Charley.
Funny thing happened Have only listened to the OBC and can't imagine any recording topping it. Zero is great and 'I'm Calm' and 'that dirty old man' both are examples or genius comic turns.
Gypsy The Merman OBC is extraordinary and the extra tracks make it pretty hard to top. That being said, the last London recording with Staunton comes close and I probably listen to this recording more now. Maybe it's just because I saw it live but Rose's Turn and Everything's Coming Up Roses always leaves me with tears when I listen to the London recording. All I need is the girl is also superior in the London recording. It is also a more complete recording, including the Toreadorable scenes.
|
|
43 posts
|
Post by sayers500 on Jul 9, 2017 17:01:57 GMT
For ALM, I prefer Alex Hanson and Angela Lansbury to the original actors but find the bare orchestrations frustrating and the inclusion of speech means that I usually listen to the OBC just so I can get A Weekend in the Country without Catherine Zeta Jones being annoying. For the same reason, I don't listen to the Evans/Russel Sunday recording, preferring the OBC which cuts more of the dialogue.
I find Nicholas Parsons annoying in the OLC recording of Woods (he cannot sing in Ever After!!) and find the posh English accents offputting. The OBC is far better for my taste. The tempo of Giants in the Sky is far better than the OLC that treats it like a race and the cast make the more annoying sections (the slotted spoon can catch the potato section in particular) the least annoying I've heard. The movie soundtrack doesn't even compete, even though Blunt's bakers wife was pretty great!
I've only ever listened to the Ball/Staunton Sweeney Todd recording which is pretty wonderful even if it misses out large sections like Pirelli's Miracle Elixir. I've been trying and failing for a number of years to find a recording of Terfel's Todd. I'm sure Rob Brydon used one in his Desert Island Discs but am not sure if that was a special recording or if there is a full recording. Also, dis they ever record the ROH production with Felicity Palmer as Lovett? That would be a fascinating listen!
|
|
43 posts
|
Post by sayers500 on Jun 17, 2017 17:30:08 GMT
Boyega off this evening as well
|
|
43 posts
|
Post by sayers500 on Jun 2, 2017 12:26:44 GMT
Saw this yesterday and loved it. The mix of Kushner, Clarke and Longhurst have made this one of my favourite shows of the year so far.
Does anybody know how I can get hold of a copy of the original Broadway soundtrack for less than £40 on Amazon? The spotify playlist does not work and it is not available on the UK Itunes or Dress Circle.
|
|
43 posts
|
Post by sayers500 on May 27, 2017 21:50:17 GMT
Have the Marianne Elliot and Dominic Dromgoole seasons been given theatres yet?
|
|
43 posts
|
Post by sayers500 on May 14, 2017 20:39:14 GMT
I was also there Saturday night and totally agree with Steve's review. I have only ever been to one other play where there have been walkouts where the disgruntled audience members walked through the action to leave. Is this a common occurrence? I found it quite unsettling and disruptive during manwatching and, if it was only that they objected to the subject matter, isn't 75 minutes short enough to endure? It's not as if it's physically disturbing or gory like Cleansed or Titus.
|
|
43 posts
|
Post by sayers500 on Apr 23, 2017 14:03:06 GMT
I was also in the balcony last night and agree that the sightlines are really poor; comparable to the Sam Wannaker Playhouse or the Dorfman cheap seats. I really liked this. It's too long but has some great numbers and, despite some minor sound issues, was well produced and acted (the actor playing Pierrepont was superb.
|
|
43 posts
|
Post by sayers500 on Apr 18, 2017 22:54:33 GMT
How's it been on other nights? Have heard that it's been totally full when Jenkins has performed. Was also there tonight and totally loved it despite the cheap set and Boe's less than convincing acting. It's great to hear a fantastic score played by a full orchestra and a capable supporting cast.
|
|
43 posts
|
Post by sayers500 on Apr 16, 2017 11:48:12 GMT
Musical I love: Bend it Like Beckham Musical I think is underrated: Anyone can Whistle Musical I cherish: Sweeney Todd Musical I think is overrated: Wicked Musical I hate: Joseph and his Technicolor Dreamcoat Musical I sob through: Billy Elliot Musical that keeps me laughing: Something Rotten Musical I could listen to on repeat: Ragtime Musical with songs I skip: Hamilton Guilty pleasure musical: Shrek Game changer musical: Avenue Q Musical I'm most excited to see: Caroline, Or Change
Play I love: Violence and Son- Gary Owen Play I think is underrated:Evening at the Talkhouse- Wallace Shawn Play I cherish: A View from the Bridge- Arthur Miller Play I think is overrated: Hamlet- Shakespeare Play I hate: Dinner with Saddam- Anthony Horowitz Play I sob through: King Lear- Shakespeare Play that keeps me laughing: Unreachable- Anthony Neilson Guilty pleasure Play: The Beaux Stratagem- George Farquhar Game changer Play: Blasted- Sarah Kane Play I'm most excited to see: The Ferryman- Jez Butterworth Play I wish was kept away from the stage for the next 10 years: Any plays by Tom Stoppard
|
|
43 posts
|
Post by sayers500 on Apr 5, 2017 22:44:59 GMT
I caught Semiramide at the Proms and was really surprised at how great the music the music was and made me wonder why it had fallen off the traditional rep. Am so excited to see what DiDonato brings to the part.
Am also hoping that Richard Jones doesn't butcher Boheme in the same way Benedict Andrews did at the ENO.
|
|
43 posts
|
Post by sayers500 on Apr 5, 2017 22:23:23 GMT
Is this the Amanda Abbington one that's currently on tour?
|
|
43 posts
|
Post by sayers500 on Nov 25, 2016 18:35:51 GMT
Did they offer refunds when they did the concert version? I'm fine with understudies, including once at the menier when the director ended up performing script in hand, but to actually not perform the show you've booked for seems something else entirely! No one replied to my stroppy email and have seen nothing offered.
|
|
43 posts
|
Post by sayers500 on Nov 19, 2016 19:00:46 GMT
I think it was Father, Mother, and Booker Washington
|
|
43 posts
|
Post by sayers500 on Nov 19, 2016 18:54:02 GMT
Did the show go on as scheduled today? I read it was a concert version? Did they just stand and sing? It was a concert version today. All the cast were sat on stage and stood at the front when they were on. Was pretty disappointed as this concert performance really shows the narrative tedium and other problems with this musical. I'm sure, like Southerland's other productions, this would be an engaging production but this performance left me feeling cheated of a good production.
|
|