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Post by MusicalTalk on Jan 22, 2018 11:54:36 GMT
I got caught up in this years ago; booked for it and went in not knowing it was the play.
Was still gripped, though!
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Post by MusicalTalk on Jan 15, 2018 8:42:24 GMT
Because he's more recognisable. Click bait and all that. Looking forward to the album!
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Post by MusicalTalk on Jan 13, 2018 18:25:58 GMT
There are; they wrote lyrics to Italian folk tunes, used cut songs from the musical and lots of underscore from the Disney film.
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Post by MusicalTalk on Dec 1, 2017 14:50:34 GMT
Going tonight.
Heard it's more of a play with the 4 songs than a full-blown musical.
Still should be great to see, though!
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Post by MusicalTalk on Nov 26, 2017 2:17:05 GMT
Pick out a Simple Tune - Half a Sixpence Raise Your Voice - Sister Act You're in the Band - School of Rock (same function as RYV) Come Follow the Band - Barnum Scales and Arpeggios - Aristocats
Just to name a few.
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Post by MusicalTalk on Oct 3, 2017 21:54:10 GMT
The grand high witch is described as very short, very young and very pretty. Idina, sadly, isn't the first two.
What've this composer and lyricist team done before?
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Post by MusicalTalk on Aug 21, 2017 8:55:58 GMT
Well the production done in an actual tent didn't get a transfer, so it'll be interesting to see how this stripped down version does.
I love the score - but found the book bland as anything. Let's hope Babani puts Seth MacFarlane or NPH in the role immediately.
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Post by MusicalTalk on May 18, 2017 22:42:49 GMT
Is it still La Cage Aux Fantômes? The big issue i had with the show is that Wednesday Addams would NEVER change to be with a "normal" guy. The whole gag of the Addams Family is that THEY think they're normal and the rest of the world are the "freaks". Until that's changed - the piece if majorly flawed. I only saw this in New York and it was one of the most disappointing evenings of theatre I'd ever had in my life - which is a massive shame. It's probably why I am in no rush to go and see this at Wimbledon.
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Post by MusicalTalk on Apr 4, 2017 22:18:23 GMT
Remember critics don't choose the star amount; the editors do that. For some stupid reason.
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Post by MusicalTalk on Nov 14, 2016 10:30:18 GMT
And all Australian theatre fans are angry there are no Australians playing the lead roles. Thoughts?
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Post by MusicalTalk on Sept 24, 2016 6:51:18 GMT
Of course they have permission. You forget other Wicked companies away from Broadway e.g. Germany have released their own soundtracks. They seem to have managed to negotiate through the red tape ok. Perhaps they could give Wicked London some tips?! The German Wicked cast recording has the Broadway orchestra on it. Cast Recording. Not Soundtrack. The film will have a soundtrack. Yes - they wanted to do a London Cast Recording with the BWay Orchestral tracks - but the musician's union wouldn't allow this - understandably. Possibly the German Musicians Union didn't care... but ours do, and we should support that fully. I wish they'd do a recording of JUST the orchestral tracks - with no singers at all - but that will never happen either for obvious reasons. London doesn't have the full Broadway orchestration, though... we were given the reduced US Tour version - so a London Cast Recording would be an inferior product in my opinion - no matter who sings on it.
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Post by MusicalTalk on Sept 19, 2016 14:27:46 GMT
Go Back Home - Scottsboro Boys Feed The Birds - Mary Poppins (if you know the Walt Disney Memorial story...) Human Again - Beauty and the Beast (If you know why Howard Ashman wrote it... it has a whole different meaning, but it's joyous in the show) Anything in Titanic/Les Mis - 'cause they all die. God Help the Outcasts - Hunchback Rose's Turn - Gypsy Our Time - Merrily we Roll Along
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Post by MusicalTalk on Sept 9, 2016 12:19:40 GMT
I am glad Lilly Allen has left the project; this needs a real musical theatre composer and lyricist. Writing cute pop songs is one thing but - as we see time and time again - pop song writers merely cannot produce strong musical theatre scores. It'd be full of half rhymes and 4 chord ballads.
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Post by MusicalTalk on Aug 29, 2016 16:41:40 GMT
Whilst talking about the cast is fine... what I want to know is who's done the illusion design? No one is listed on the website... that's a worry.
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Post by MusicalTalk on Aug 5, 2016 9:35:16 GMT
Shove Catherine Zeta jones in it.
If not - It will be popular for a month when all the theatre fans see it - but it probably won't sustain a strong run.
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Post by MusicalTalk on Jul 4, 2016 23:34:25 GMT
Mmmm so not that much different from Double Bubble Duchess. It's OK, it does the job of introducing her and gives the actress a chance to show off a bit vocally. Note that they sing the only known song from the show, the rest are totally forgetful. What a wasted opportunity. I hear it is being completely re-conceived for Broadway. My daddy says that I'm the top, etc... My mummy says I'm a miracle, etc...
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Post by MusicalTalk on Apr 29, 2016 18:11:04 GMT
Jesus Christ Superstar contains one of the best known love songs of all time: I don't know how to love him... Yeah. Mendelssohn wrote such a lovely tune for that. I think it's many things: Commercial Success1) Sociocultural attitudes at the time 2) A star in the show 3) A star having written the show (doesn't mean the score has to be good - Kinky Boots) 4) Material people are familiar with Artistic SuccessWho knows - or everyone would write a hit!
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Post by MusicalTalk on Apr 4, 2016 10:33:17 GMT
Rap education/inspiration if ALW did this, it'd be seen as plagiarism
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Post by MusicalTalk on Mar 1, 2016 9:04:32 GMT
I am not sure. I remember Paul telling me that the fading away illusion was the first time it had been done in a very long time and the whole set had to be designed around that moment (it' not in any tour of the show, sadly) Here's a televised version of it:
The effect in LOTR may've been a smaller version of it done by Paul.
Elphaba's flying is weak - it was also done in Joseph in the early 90s, so it's nothing amazing. The reason it works, much like the helicopter, is that it happens at the emotional high point in the show so, like all good magic, the story itself is 80% of the effect!
I do like the paper plane trick in Charlie - if you're sat very close to the stage you can see how it's achieved, but it always takes people by surprise and, again, works in the emotional moment of the show. It's ironic that it's the best magic trick in the piece, really...
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Post by MusicalTalk on Feb 29, 2016 9:45:22 GMT
The chalkboard and pigtail moments are brilliant, but Paul's finest coup de theatre is the appearance and disappearance of Sam in Ghost (and possibly the bandage unwrap in The Invisible Man)
I look forward to seeing what he has planned for Groundhog Day (and the Derren Brown Ghost Train at Thorpe Park! Haha)
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Post by MusicalTalk on Jan 31, 2016 9:06:42 GMT
I don't think that's a far assessment. We should be lucky we're getting the world premiere of a new musical there. You could say he used the Courtyard Theatre for a show that's now playing around the world (and charging £120/seat in London). It's a wise business choice to try a musical out in a smaller venue before West End or Broadway. Who knows? It may not go to New York.
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