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Post by MusicalTalk on Jun 6, 2020 11:21:09 GMT
The question is how will they put 32 hours of story plus two (or more) musicals into a stage show?
Exciting, though; I love the songs to Bombshell.
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Post by MusicalTalk on Jun 6, 2020 11:17:44 GMT
As I understand it they did 'exploratory auditions' in London but weren't satisfied there was a sustainable amount of dance talent to keep it going long enough at the best quality (it's a v physical show so presumably suffers a lot from injury and regular cast changes). I also wonder if there was worry about brand recognition, the original film is virtually unknown here, as is the term 'newsie', as is the real life event it's based upon, and even the show itself is hardly known here now. And the irony here is that Arts Ed did the European premiere that was so impressive not only did Disney execs come to see it, it made the national press and starred a Jac Yarrow...
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Post by MusicalTalk on May 16, 2020 10:45:51 GMT
They teased that Beetlejuice will return... somewhere. (Could just be the tour)
Frozen will not open this year.
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Post by MusicalTalk on May 13, 2020 20:02:36 GMT
What we also have to consider (and I apologise if this has been raised before) is how will the orchestras social distance? Will shows have to be re-staged to avoid contact? Will all musicals become standing-at-microphone concerts with backing tracks?
This is a much bigger issue than just audience capacity...
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Post by MusicalTalk on Feb 21, 2020 13:47:03 GMT
Remember we will rock you was originally told to close to make way for back to the future. So maybe it will go there after prince of Egypt.
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Post by MusicalTalk on Feb 20, 2020 19:11:29 GMT
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Post by MusicalTalk on Feb 4, 2020 18:10:36 GMT
An illusion designer is involved, though....
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Post by MusicalTalk on Jan 11, 2020 23:09:50 GMT
Saw this tonight on a whim, and there is a tradition to see a Disney show for my birthday if one is available. I was sat in Grand Circle box 2 and I'm not ashamed to admit I completely cried when Mary flew past me at the end. I cannot fault this show and wish it's predecessor Aladdin had been of the same calibre. In no rush to see Mary Poppins again but what a brilliant show, this is the quality Disney should be at. (Also brilliant to see so many well behaved children at the theatre!) This is because Disney had, creatively, very little to do with the production. They merely financed it and gave permission for the songs and the brand. The wonderful show is all down to Cameron, Julian, George and Anthony.
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Post by MusicalTalk on Aug 30, 2019 14:41:07 GMT
Most of the effects you're mentioning here are done by Paul Kieve (Ghost, Pippin, Matilda)
However - one of my fave tricks that he did is the unwrapping form from The Invisible Man.
The chalkboard scene in Matilda is pretty clever when you know how it's done (and it's not projections)
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Post by MusicalTalk on Jul 16, 2019 16:56:56 GMT
It's a shame this doesn't really move the plot forward.
Also - Glenn - HARD and ARE do not rhyme.
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Post by MusicalTalk on Jul 16, 2019 15:19:59 GMT
I was a bit disappointed it didn't have any of the spectacle the Palladium had (wall of smoke with Joseph lowering from the clouds at the beginning, animatronic camels, collapsing sheep skeletons etc). It's ironic that all these years later at the same theatre - we get a less technically innovative show. What they do do is nice - I liked the LED lighting for the colours and the statues in the palace were fun - but it lacked the visual style the "original" had.
It's a big cast - but a lot of them are kids and they won't be getting paid.
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Post by MusicalTalk on Jun 11, 2019 17:42:57 GMT
I would say because the logo is iconic. It's returning to the Palladium with an original cast member.
When they reimagined Phantom and Les Mis Saigon - they will used the show logos. A lot of it will be down to emotional connection and such.
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Post by MusicalTalk on May 23, 2019 16:31:30 GMT
I wouldn’t be surprised if the car flew over the audience and then disappeared at the end. With Paul Kieve involved who knows what’s possible.
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Post by MusicalTalk on May 17, 2019 15:07:44 GMT
The director couldn't hack it, apparently.
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Post by MusicalTalk on May 17, 2019 11:03:24 GMT
I am, along with everyone else, very excited about this project. To have the illustrious film team behind it is great (though I wish Matthew Warchus were directing) but I am worried it has no musical theatre dramaturg behind it - so I hope the song placement and structure will be strong for the non-diegetic moments.
I am excited to have Paul Kieve on board, too - he's certainly one of our top illusion designers and I can't wait to see how the musical ends. My issue is... the ending of the first film is just the end of the first of 3 three parts (or two if you hate the 3rd film) so I'm curious to see how they tie it up. Also will they keep the Libyan terrorists?
I also think this will make its way to the Dominion next year. Imagine if it took over at the Coliseum!
Exciting times! We're gonna see some serious sh*t.
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Post by MusicalTalk on May 4, 2019 10:49:09 GMT
They should just stage Hunchback of Notre Dame with the massive choir and orchestra and be done with it.
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Post by MusicalTalk on Apr 22, 2019 6:04:14 GMT
Interesting! The reviews aren't greatly written - and he seems to compare everything to My Fair Lady (it's not My Fair Lady, but...).
Nice to have the archive though; it's a wonderful library of hanging trends over the years!
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Post by MusicalTalk on Apr 3, 2019 17:59:25 GMT
Nice to see a Walt Disney invention has made it into the "mainstream". A dutch friend alerted me of this.
I do worry about the location - but it's exciting...
If this fails - at least we have a permanent home for Lord of the Rings!
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Post by MusicalTalk on Feb 5, 2019 11:42:30 GMT
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Post by MusicalTalk on Feb 5, 2019 11:37:51 GMT
There was a one woman musical featuring the songs of SAW starring Denise Van Outen at the Arts Theatre.
I quietly walked out in the interval. Good songs and good arrangements of the songs - but DVA was playing a less likeable version of herself.
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Post by MusicalTalk on Jan 28, 2019 16:29:43 GMT
£175 for “premium” seats.
It better have real pigeons and a return of the original house set for that price.
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Post by MusicalTalk on Jan 26, 2019 12:20:40 GMT
It's exciting that Max Martin is finally getting a jukebox musical that he has power over and it's very sad people don't know who he is.
I wish, though, that it were a collaboration between Scott Bradlee from Post Modern Jukebox as that would be an interesting spin on his songs and they would make them truly theatrical - as well as add another marketing spin.
The "what happened next" thing is an interesting ploy that worked for Wicked - and if we're dealing with an iconic character such as Juliet - I can see that working.
This will need very clever marketing behind it - but it may seem perfect for the social media age... nothing helps a show more like word of mouth so it will be fun to track its development.
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Post by MusicalTalk on Dec 30, 2018 0:42:28 GMT
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Post by MusicalTalk on Dec 8, 2018 17:55:04 GMT
Blooming snowflakes everywhere... getting offended by everything!
Excited to see this; it seems to be selling much better than last year - not sure what their day seat policy is. You could always get one on the day for Dick last year.
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Post by MusicalTalk on Jun 5, 2018 10:08:24 GMT
I still remember the absolutely stunning use of the peppers ghost trick to make Sam appear to Molly near to the end was breathtaking and I did find the ending rather emotional. The Blue Room Illusion (a SORT OF Pepper's Ghost trick) is one of the most complicated stage tricks ever and requires a massive amount of fly space area (to give you a clue as to how it's done... it couldn't tour) and the whole show had to be designed around that 3 second illusion. Warchus, Kieve, Howell and Vanstone are the top theatre creatives when it comes to pure magical staging and they really do work well together. I didn't see it, but I am worried what a Kenwright production would look like as this show is all about the magic - though stuff in The Exorcist was quite fun.
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Post by MusicalTalk on May 26, 2018 5:23:19 GMT
Seems to me like they're trying to do another Matilda - which isn't a bad thing.
Williams isn't a songwriter - however Chambers is a classically trained composer (Studied composition at Guildhall) so at least the music will be more than 3 chords (looking at you Elton John/Bono/Lauper). Let's not forget Chambers also has his chamber opera, too.
This seems to me to be like THE GIRLS where they're relying on Williams' name to attract sales and record some promo songs - whereas Chambers will be doing the heavy music work (as Firth did for THE GIRLS) I could be wrong... maybe Williams has been slaving away at the piano for last 8 years... but I doubt it.
I just prey to God the lyrics rhyme properly and we're not treated to more pop rhymes on stage (I'm looking at you Bono/Lauper...)
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Post by MusicalTalk on May 17, 2018 21:26:56 GMT
God, American reporting is bad. How more condescending can they be?! It's not a play - it's a musical.
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Post by MusicalTalk on May 1, 2018 6:33:07 GMT
"like" "legit" "could of" "awesome" "where you at" "literally" "WEST-minster" "FI-nance" "It's gotten cold"
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Post by MusicalTalk on Apr 16, 2018 13:24:26 GMT
I think it's just a case of waiting for the reviews to come out. It's a big theatre to fill, though... was it continuously sold out at the Coliseum? I seem to remember one could get £30 tickets very easily into the run.
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Post by MusicalTalk on Mar 28, 2018 6:36:51 GMT
It may be worth noting that Arts Ed are going to be doing the European premiere of Newsies.
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