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Post by MusicalTalk on Feb 24, 2022 22:20:38 GMT
I would’ve liked to have seen an entirely brand-new cast. Let’s hope Paul Zerdin actually comes up with some entirely new material for this production.
It got very tiresome last year.
Fun, though! I’m sure the scale will be immense.
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Post by MusicalTalk on Jan 28, 2022 20:23:53 GMT
Now they just need to re-write the music and it may be worth seeing again…
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Post by MusicalTalk on Jan 24, 2022 8:39:48 GMT
I wonder if they’ll expand the show as the tech elements didn’t receive the best reviews? The Palladium always presents shows with a reputation for being very show-off-y… especially if they’ll he charging more to see this than the prices for when it was on tour.
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Post by MusicalTalk on Jan 21, 2022 22:23:35 GMT
We must remember the show did win 10 Tony awards.
I enjoyed it very much. I saw it on Broadway two years ago and I enjoyed it more in London due to the fact I had better seats so I felt more connected to the story.
I think the more emotional scenes could work better with original songs as opposed to shoehorning pop songs in that don’t move any story forward. It just doesn’t work if you’re having a tender moment when the audience are laughing at this song choice. This musical does not have any heart and light the film. But it does work very well in a theatre.
Clive Carter is wonderful!
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Post by MusicalTalk on Jan 16, 2022 17:37:18 GMT
So they're stopping A CHRISTMAS CAROL? Interesting!
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Hex - NT
Jan 6, 2022 17:43:18 GMT
via mobile
Post by MusicalTalk on Jan 6, 2022 17:43:18 GMT
Still waiting for their witches musical….
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Post by MusicalTalk on Dec 9, 2021 17:09:06 GMT
Some day that she’s a very fake performer; dead behind the eyes and watching her feels like she’s in a very polished high school production. I kind of agree…
There are more deserving people of awards out there.
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Hex - NT
Dec 9, 2021 9:20:32 GMT
via mobile
Post by MusicalTalk on Dec 9, 2021 9:20:32 GMT
So it seems like it’s the light princess all over again.
Someone writing a musical who doesn’t know how to write musicals Rosalie being wonderful Great set Great costumes Nonsensical lyrics
Will they learn?
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Post by MusicalTalk on Nov 6, 2021 18:40:27 GMT
You’re more in line with the action at the front middle of the dress circle.
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Post by MusicalTalk on Nov 5, 2021 8:14:50 GMT
The ones that come to mind are:
Loud booms before the Delorean appears Co2 emissions once it’s appeared A thunder crack before the final action sequence.
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Post by MusicalTalk on Nov 2, 2021 11:55:46 GMT
The score grows on one. Some of the slant/pop rhyming is disappointing - but I fear that’s how Glenn Ballard works. The clever side is how the motifs from the score are used both harmonically and melodically. Orchestrations are great; and the sound mix, I found, to be very strong.
The final 20 minutes are arguably the most thrilling ever seen in a west end stage when it comes to pure theatricality coming together to present something.
It’s a tonic of a show!
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Post by MusicalTalk on Sept 30, 2021 22:39:09 GMT
The “car on a stick” is a lot more complicated than we think. The fact we see the car from all angles means the car cannot be on a stick... it’s a lot cleverer than we think.
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Post by MusicalTalk on Sept 13, 2021 13:15:51 GMT
I don't recall cloths being flown on on Frozen. When did that happen? Almost every scene! No… don’t recall. They have the led digital backdrop and the front scrim which features projection - but a majority of the scenes feature real set pieces. There’s the crystal curtain which comes down… maybe I’m wrong?
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Post by MusicalTalk on Sept 13, 2021 9:29:22 GMT
1) Newsies 2) Hunchback of Notre Dame 3) Frozen (Finding Nemo would go here, if we're including Disney parks musicals) 4) Aladdin (Broadway) 5) Lion King (Biiiiiig gap, was incredibly disappointed by the ones below) 6) Aladdin (West End) 7) Mary Poppins Those are the ones I've seen so far. Aladdin is split because I liked it a lot on Broadway and hated it in the West End - I've never known a show to vary so much in quality level between supposedly replica productions. Aladdin’s best theatrical outing was at Disney’s California Adventure. The carpet is done beautifully!
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Post by MusicalTalk on Sept 12, 2021 6:55:41 GMT
What's the deal with the tickets? It says in the email I have to download to my mobile wallet, I don't have a mobile wallet, nor do I want one! Android and iPhone offer something called a wallet which lets you download things often having barcodes or QR codes on them for ease of access. You don’t have to download them to your wallet; you can probably just show the email attachment when you arrive on your phone. Or open the email attachment on your computer, print it and bring that along.
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Post by MusicalTalk on Sept 10, 2021 8:49:28 GMT
{Spoiler - click to view} I think it's a case of it being that it HAS to be done and the mechanism behind it is a bit slow. When I saw it in Manchester it took them ages to strap the guys in - so there were just people huddled around the car for about 30 seconds. I think they've sped that up massively for London. It's still a beautifully executed illusion! The car stuff worked well from the Dress Circle in Manchester... that's all I can add.
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Post by MusicalTalk on Sept 9, 2021 10:37:56 GMT
I thought Sutton's performance was fine; like a very good high school performer. She did some interesting things with he rhythm of anything goes - which didn't work at all (she did it in the broadway run, too) and she just sounded tired and looked quite dead behind the eyes.
But - others' opinions I'm sure will differ as she's got more praise than not - but I think a lot of it is the excitement of having her here. I wonder when she will make her TRUE West End Debut?
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Post by MusicalTalk on Sept 9, 2021 10:35:09 GMT
I still find it weird that the editor - and not the reviewer - decides the star rating based upon the review...
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Post by MusicalTalk on Sept 8, 2021 8:52:59 GMT
Actually Julie Andrews was one of the few things she approved of--and she said that had she been directed properly, she would have been even better as Mary Poppins. Also, when casting Julie Andrews Disney asked Travers herself how old Mary Poppins is and she replied "26 or 27". In general, I like Zizi, but I believe that all productions after 2016 present Mary Poppins more as a caricature. I don't know if this is Richard Eyre's decision or CM or a resident director's. I saw the Mexican production and although Mary has a wonderful voice, the way shes goes up the stairs is way too comical for me. Sometimes I do miss LMK's mysterious aura or Scarlett's performance (better than LMK at dancing). It will totally be Cameron’s meddling that is cheapening this show slowly but surely. Just waiting for the day he gets a Phantom or Les Mis reference/plug in it. There’s a Hamilton reference…
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Post by MusicalTalk on Sept 5, 2021 9:49:33 GMT
Wow just wow…. And that end scene with the car HOW DID THEY DO THAT?? The cast was absolutely phenomenal and the changes they made from Manchester were greatly needed. This years Oliviers are going to be something else It’s going to be hard to decide between Back To The Future and Frozen for best lighting… Hugh Coles up for best supporting role.. Olly Dobson up for best actor… The show was a bit louder than I would have liked, I felt like my ears were gonna pop off. Yes - I am sitting here trying to work out how *that* bit is done. {Spoiler - click to view} The fact we never see an arm attached to it (because it does its inversion and then we see the front and the back) is what confuses me... but it MUST be an arm.
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Post by MusicalTalk on Aug 28, 2021 18:36:41 GMT
I wonder why they don't sell merchandise on the show website... My guess is they want people to see the show.
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Post by MusicalTalk on Aug 25, 2021 11:01:05 GMT
Elphaba's flying was done in Joseph in 1991 and ironically not done in the current production!
The car flying in Chitty was impressive - but BTTF's flying sequence is on a whole new level. Do we know for certain whether it's the same car we've seen for the whole show or is it a separate one that appears from beneath the stage?
For me - it's the mis-direction illusions that really are fun in this show - especially very early on in Act II (it got a round of applaud last night)
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Post by MusicalTalk on Aug 24, 2021 7:42:07 GMT
One could argue the melodies are only catchy because they’re repeated over and and over again and are often quite nursery rhyme like.
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Post by MusicalTalk on Aug 20, 2021 12:20:23 GMT
I think it's due to the fact the revolving seats have not been used SINCE Cats - so, for many (the younger demographic for whom CINDERELLA will appeal) it's a new experience and one you can't experience anywhere apart from Disney's The Carousel of Progress.
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Post by MusicalTalk on Aug 4, 2021 14:58:13 GMT
I'm tempted to get tickets to this based on the reviews here, but I've also seen it likened to the recent 42nd Street a lot - as someone who though the best part of that production was the fact you would always get upgraded from the cheapest seats to top price stalls, should I give this a miss? How similar is it? So many shows to see and so little money and time, so if it's very similar to 42nd Street in terms of style and tone then I will probably look elsewhere. It is very similar, even down to a lot of the ensemble having been in 42nd Street (or, if not, another big dance based show). There is slightly more plot to Anything Goes, but not much more. Music wise, I prefer 42nd Street, but it is all from a similar era. yes - this is more farcical than 42nd Street and is way less tap heavy (AG really only has one tap number). This doesn't offer the spectacle that 42nd Street had/has - as the set is quite limited (a bar, the deck and a few indoor areas of the ship) To me Sutton Foster seemed a bit dead-behind-the-eyes and her voice wasn't that pleasant to listen to - but she sure can move and the ensemble and orchestra are working so hard to provide a wonderful result. So - yes - it's the same era as 42nd Street - but different in tone, presentation and style.
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Post by MusicalTalk on Aug 3, 2021 8:53:59 GMT
Listening to the single I realised that Far Too Late is a virtual rip off No Matter What. You can almost sing one on top of the other. Ah well, no surprise there. It's also VERY close to HOW DOES A MOMENT LAST FOREVER from Beauty and the Beast. Again... no surprises there.
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Post by MusicalTalk on Dec 5, 2020 17:58:43 GMT
At least it's Alan doing the music and not Elton John like the rumour was for a while...
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Post by MusicalTalk on Sept 21, 2020 16:37:10 GMT
Americans also can't see past Broadway as the home of musicals. If it wasn't a hit on Broadway... it might as well not exist.
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Post by MusicalTalk on Aug 5, 2020 17:28:31 GMT
Is that just me or does someone else hear the resemblance between Tell me on a Sundays Tyler King and Bad Cinderella ?? YES. And another song.... Just find it incredibly dull. It's also stolen from the folk song Loch Lomond. Nice to see ALW keeping up his standard.
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Post by MusicalTalk on Jun 18, 2020 11:41:46 GMT
By Jeeves says hai.
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