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Post by AddisonMizner on Mar 17, 2024 13:06:06 GMT
I think I read somewhere that there is going to be a new production of TOSCA this coming season, with Freddie De Tommaso. I think maybe Lise Davidsen may be Tosca.
I expect there will be some Handel, as there is something every year. I would love to see TAMERLANO, maybe with Michael Spyres.
If they do HOFFMANN, can we please have Benjamin Bernheim as the title character?
As long as the season is cast with good singers, I am not overly bothered what the operas themselves are.
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Post by AddisonMizner on Mar 12, 2024 19:17:25 GMT
My two cents:
Stephen Sondheim’s Old Friends, music and lyrics by Stephen Sondheim at the Gielgud Theatre
Best Family Show
N/A. Haven’t seen any of the nominees.
Gillian Lynne Award for Best Theatre Choreographer
Fabian Aloise for Sunset Boulevard at the Savoy Theatre
Mithridate Award for Best Costume Design
Bunny Christie and Deborah Andrews for Guys and Dolls at the Bridge Theatre
Cunard Best Revival
N/A. Haven’t seen any of the nominees.
Best Musical Revival
Sunset Boulevard, music by Andrew Lloyd Webber, lyrics and book by Don Black & Christopher Hampton at the Savoy Theatre
d&b audiotechnik Award for Best Sound Design
Adam Fisher for Sunset Boulevard at the Savoy Theatre
Outstanding Musical Contribution
Alan Williams for Musical Supervision and Musical Direction for Sunset Boulevard at the Savoy Theatre
Best Actor in a Supporting Role
Luke Thompson for A Little Life at the Harold Pinter Theatre and Savoy Theatre
Best Actress in a Supporting Role
Gina McKee for Dear England at the National Theatre – Olivier
Blue-i Theatre Technology Award for Best Set Design
Soutra Gilmour for Set Design and Nathan Amzi and Joe Ransom for Video Design for Sunset Boulevard at the Savoy Theatre
White Light Award for Best Lighting Design
Jack Knowles for Sunset Boulevard at the Savoy Theatre
Best Actress in a Supporting Role In a Musical
Eleanor Worthington-Cox for Next To Normal at the Donmar Warehouse
Best Actor in a Supporting Role In a Musical
Jack Wolfe for Next To Normal at the Donmar Warehouse
TAIT Award for Best New Opera Production
Blue by the English National Opera at the London Coliseum
Outstanding Achievement in Opera
Antonio Pappano for his role as musical director of the Royal Opera House
Best Actor in a Musical
Daniel Mays for Guys and Dolls at the Bridge Theatre
Best Actress in a Musical
Caissie Levy for Next to Normal at the Donmar Warehouse
Best New Dance Production
N/A. Haven’t seen any of the nominees.
Outstanding Achievement in Dance
Unusual Rigging Award for Outstanding Achievement in Affiliate Theatre
N/A. Haven’t seen any of the nominees.
Sir Peter Hall Award for Best Director
Jamie Lloyd for Sunset Boulevard at the Savoy Theatre
Best Actress
N/A. Haven’t seen any of the nominees.
Best Actor
James Norton for A Little Life at the Harold Pinter Theatre and Savoy Theatre
The Londoner Award for Best New Play
Dear England by James Graham at the National Theatre – Olivier and Prince Edward Theatre
Mastercard Best New Musical
Next To Normal, music by Tom Kitt, book and lyrics by Brian Yorkey at the Donmar Warehouse
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Post by AddisonMizner on Mar 9, 2024 17:23:17 GMT
I have been to see the tour at Curve twice this week (once for the evening performance last Saturday, 2nd March, and once for today’s matinee performance ). When I saw this in London, I felt it was the best thing I had ever seen. I went in knowing absolutely nothing and it completely knocked me sideways. Now I know the show very well, but it loses absolutely none of its impact on a second or even third viewing in its tour incarnation. It is quite simply STUNNING! I still laughed, cried (a lot) and laughed again. Therefore, I felt it appropriate to repost my review from London, as it all still applies:
I am just out of today’s matinee, and all I have to say is WOW! Just WOW!!
A stunning, towering achievement of musical theatre, so beautifully crafted. Joyous, uplifting, moving. The script, the songs...just everything blew me away and has made me truly lost for words. It makes you cry (ugly tears!), then laugh the next moment (and there are some real belly laughs in this) and does so in a way that is never jarring. Plus, all of this is done with just some tables and chairs, and some clever lighting, proving you do not need fancy sets, just a great piece to really engage.
The company deliver the material with aplomb, and it really comes across that they feel blessed to be in the show. It feels like a cast of more than it is, as they morph so completely into the different characters that they play, that it is almost like a different actor for each role.
A show about humanity, about creating something positive in the darkest of times. The people in this story shared this moment in time together, and I think that is what the matinee audience felt today. I urge all of you to go. I will certainly be recommending to friends, and if I can, going for another visit.
To end where I started...WOW! I am an islander! Now I need to go and cry alone somewhere for a moment.
5 stars.
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Post by AddisonMizner on Feb 25, 2024 15:59:14 GMT
Is this still due for London?
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Post by AddisonMizner on Feb 17, 2024 23:52:44 GMT
I've never seen a Welsh National Opera production, but have wanted to. I am thinking I may book the PETER GRIMES in Birmingham next year, especially as Nicky Spence is singing the title role, which I hadn't realised before.
It is true that the rest of the season leaves a lot to be desired, but that is the case for so much of the UK opera scene at the moment. Many of our singers are going abroad as there are just not the same opportunities here as in other places. Plus, the pay is much worse.
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Post by AddisonMizner on Feb 17, 2024 20:37:32 GMT
Finally caught GUYS AND DOLLS at today’s matinee. I can’t believe that I’ve only just got around to seeing it. This really was an incredible experience.
My only other experience of the show was the Ewan McGregor Michael Grandage/Donmar production at the Piccadilly, which I remember absolutely loving. This new production is in a different league though, and is really inventive.
Firstly, the cast are brilliant. I went for Celinde (and she was gorgeous in this. Her Sarah Brown was a real fire-cracker - smart, knowing, sexy, vulnerable. The chemistry between her and Sky was palpable. A great actress! And my God, the voice is beautiful. I had shivers during ‘I’ll Know’. She does more with the voice here than in LOVE NEVER DIES, which is an out-and-out legit sing, and really shows other sides to it. I can’t wait to see her do other roles. She could certainly follow in Kelli O’Hara’s footsteps on this side of the pond).
However, all the cast are wonderful. Daniel Mays had a boundless energy and attack as Nathan. He was an absolute joy to watch. The same goes for Marisa Wallace as Adelaide. Cedric Neal was a cheeky presence as Nicely, and brought the house down with ‘Sit Down You’re Rocking the Boat’ (3 times)! George Ioannides was a suave Sky, with the voice of an old-school crooner.
I did the immersive standing option, and can’t imagine doing anything else for this show. It is truly immersive (not like some of these other shows that have been billed as such, but then aren’t). The stage crew do an absolutely mammoth job, and it is more than deserved that they get their own bow. It really adds an extra dimension to your experience, being so close to the action, and interacting with the actors. I was mere inches away from Marisha and Celinde when they did their big duet in Act 2. I was worried that 3 hours was a long time to be standing, but needn’t have worried. The time absolutely flew by!
The piece itself is an absolute masterpiece. It is incredibly well crafted. All the songs are winners. The book is so funny too.
So glad I saw this before the cast change, although this show would reward repeated viewings (something I am not really a fan of - there is just too much else to see)! There is so much going on, and so many little interactions with audience members that are missed on a first viewing. I may well go back (plus, Celinde is staying).
An easy 5 stars (my second of the week).
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Post by AddisonMizner on Feb 17, 2024 20:00:20 GMT
I went to see last Sunday’s matinee (11th February). I am a fan of the TV show, and have seen all four seasons (Season 4 is brilliant).
Visually, it is incredible. The opening sequence is breathtaking, and sets the scene perfectly for what is to come. The whole first act zips along.
However, the second act is not quite as strong. The slow motion element near the end is brilliant though.
Based off of this, I have some theories for Season 5 (hence why I have put this in the spoiler thread).
I am assuming that Patti will show up at some point in Season 5. She seems to be Vecna/Henry‘s only weakness, and so could hold the key to defeating him.
Does the blood-type play an important role, as this is a piece of information that we have not had before? It is certainly not mentioned in the TV series.
The same goes for the cave mentioned in Nevada. Could this be some sort of clue to the denouement of Season 5?
All in all, this was still a 5 star experience for me.
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Post by AddisonMizner on Jan 30, 2024 19:12:37 GMT
One of my favourites!
I have booked the Opera North production in Leeds, but will be booking this too.
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Post by AddisonMizner on Jan 12, 2024 19:55:10 GMT
This is very exciting news! I don’t know if I can contain myself until the Spring though.
All we need now is a London production!
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Post by AddisonMizner on Jan 6, 2024 21:14:02 GMT
Isn’t Hercules rumoured to be going in after Frozen? I would love this if true! I know the production in the States was not well received, but I love the score. One of Disney‘s best alongside HUNCHBACK.
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Post by AddisonMizner on Jan 6, 2024 20:43:53 GMT
I went to see today’s matinee and thoroughly enjoyed it! This is the first time I have been at the Menier since THE BRIDGES OF MADISON COUNTY, and it was a joy to be back!
PACIFIC OVERTURES is one Sondheim piece that I do not know particularly well. I have listened to the numerous recordings, and I have previously seen the production that was on at the Union a few years ago, but I enjoyed the Menier’s much more.
The production is lovely for a start. It looks really quite beautiful, and the staging is very creative. I liked the setting of a Japanese exhibition, and felt that this framing device lent itself to the material very well. There was some lovely imagery created, such as the death of Kayama’s wife, with the use of red light and draped fabric. It is also a very witty production - I can’t remember the one at the Union being quite this funny.
The score is a marvel and unlike anything else in Sondheim’s output (though that could be argued for all of his work)! I loved how it sounded authentically oriental/Japanese, but then morphed to become more Westernised as the piece progressed. Particular highlights were ‘Someone in a Tree’ (I had tears in my eyes listening to this, but I think that it was more due to the recognition that this was Sondheim’s favourite song of his that he wrote), ‘Please Hello’ (a real showstopper in this iteration. I also loved the parodies of the musical styles from different countries, such as the Gilbert and Sullivan-esque patter song for England), ‘Pretty Lady’ (an absolute stunner of a song, despite its context - I again had tears in my eyes), and ‘Next’ (loved the staging of this number with its nod to AI).
All in all, a wonderful afternoon.
4 stars.
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Post by AddisonMizner on Jan 5, 2024 10:32:34 GMT
Broadway teaser here:
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Post by AddisonMizner on Jan 4, 2024 20:10:12 GMT
I went to today’s matinee (4th January), and having watched this production (after seeing the awful Drury Lane concert back in August), I have come to the realisation that EVITA is not really for me. Whilst some of the music is nice, dramatically it is just not very interesting, and I still think you need to come to the show with some sense of the actual events to truly understand what is going on, which is a massive fault of the storytelling.
The role of Eva is poorly written vocally often having to belt at the extremities of range so that it sounds like she is shouting. This is certainly what I felt with Martha Kirby’s Eva, and her portrayal suffered as a result.
I also couldn’t help but compare this production unfavourably to Jamie Lloyd’s SUNSET, as it heavily reminded me of it, being quite close aesthetically, but EVITA wasn’t done anywhere near as well.
There was a lack of attention to detail in the camera work - things could have been angles better to fit on the screens, and sometimes they just left the camera facing the floor so that it was just projecting the staircase. The staircase was sometimes poorly positioned to partially obscure the screen, and it would have been better if this fit the whole width of the stage.
The choreography is also not as snappy or energetic as SUNSET.
I know these comparisons aren’t necessarily fair, but I just had SUNSET very clearly in my head from Saturday. I also came out humming the music of SUNSET, which is surely not a good sign.
Had I seen EVITA first, I maybe would have enjoyed it more. There were some nice moments (such as the first and last stage images).
3 stars
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Post by AddisonMizner on Jan 3, 2024 18:06:48 GMT
Thinking about this, was SINATRA not planning a West End stint? Is this still happening? I know it wasn’t well regarded here, but I love the music, so would like to see it.
I also know that Jeanine Tesori wants to bring KIMBERLY AKIMBO over. Could we see that in 2024?
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Post by AddisonMizner on Jan 3, 2024 18:04:13 GMT
Any more news on a cast recording?
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Post by AddisonMizner on Jan 1, 2024 16:04:22 GMT
Isn’t the Josh Groban production of SWEENEY TODD rumoured to be transferring to the West End? Also, the Jamie Lloyd production of A DOLL’S HOUSE coming over from Broadway?
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Post by AddisonMizner on Dec 31, 2023 13:28:37 GMT
Thanks! Here’s hoping that it happens.
I know there is the rumoured Broadway transfer of SUNSET, but hopefully Lloyd still has time to do something in London.
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Post by AddisonMizner on Dec 30, 2023 23:59:56 GMT
Sorry to bump this thread, but does anyone know of any plans to transfer this to London? After SUNSET, I would love to see anything else Jamie Lloyd gets his hands on.
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Post by AddisonMizner on Dec 30, 2023 23:50:12 GMT
I have now seen the last of my shows for 2023, so can finally post my top 5. I've seen 20 shows in total this year. By far the most I have ever seen in a single year. Most were of incredible quality being around the 4 or 5 star mark (or I just know what I am likely to enjoy). I've looked through the list of shows seen, and gone back through all of my reviews to come up with a top 5 and put them in some sort of order. It is a mix of both plays and musicals, as I really haven't/don't see enough plays to make separate lists:
1. STEPHEN SONDHEIM'S OLD FRIENDS (Gielgud Theatre)
There was not really going to be anything else in this top spot, as nothing has even come close to it. A stunning tribute to the late Sondheim, delivered like the cast's lives depended on it. I laughed, I cried, and like I said at the time, probably the best thing I have ever seen!
2. NEXT TO NORMAL (Donmar Warehouse)
A real surprise here, as I really was not expecting to love this as much as I did. A brilliant piece of musical theatre writing and incredibly moving.
3. DEAR ENGLAND (National Theatre)
Who would have thought that I would not only enjoy a play with football at its centre, but that it would also make my top 5? Not me, that is for sure! Another brilliant play from James Graham.
4. THE BOOK THIEF (Leicester Curve)
A very moving new musical with a beautiful score. I hope it gets a further life, or at the very least a cast recording in the near future.
5. A LITTLE LIFE (Harold Pinter Theatre)
I notice that I didn't give this a star rating at the time, but looking back through the review, it clearly would have been 5 stars. A mammoth of a play and a very difficult watch at times, but with an absolute knock-out performance from James Norton.
Honourable Mentions:
SUNSET BOULEVARD (Savoy Theatre)
A bold reinvention of the classic Andrew Lloyd Webber musical. It takes some incredibly strong swings, and creates theatrical moments that I will be thinking about for a while.
LOVE NEVER DIES IN CONCERT (Theatre Royal Drury Lane)
One of my favourite Andrew Lloyd Webber scores brought thrillingly to life by the London Musical Theatre Orchestra, with a stonking central performance by Celinde Schoenmaker as Christine, where she does some of the best singing I have heard on the musical theatre stage (I have booked GUYS AND DOLLS early next year to see her, based on that performance alone). It was just a shame about her Phantom.
2024 begins in earnest next week with EVITA at Leicester Curve and PACIFIC OVERTURES at the Menier.
Happy New Year everyone!
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Post by AddisonMizner on Dec 30, 2023 21:43:25 GMT
I went to see the matinee of this today - my last show of 2023. I have to say that I nearly did not book this when it was announced. The casting just did not inspire me, and I felt that Scherzinger was all wrong for Norma - no proven acting chops, the wrong age etc, and I love SUNSET too much. Well, I am happy to be proven wrong!
Starting with Nicole, she is perfect for this production’s interpretation of Norma. She is mad from the start, giving a very physical performance, rolling around the stage, convulsing and undulating in any number of body contortions. The sexual attraction between her and Joe is played up to the max and works. The singing, whilst not to my taste, is also done well enough. Her sustained ‘Home’ during ‘As If We Never Said Goodbye’ stretches the boundaries of good taste, and musicality for me, but I can understand dramatically why this was a choice. The audience clearly loved it though. She got a smattering of standing ovations from people in the Stalls after that song.
It is the other members of the cast that really impress though. Tom Francis as Joe is the standout, giving a stellar performance. I also really enjoyed Grace Hodgett Young as Betty. She gave a lovely performance that really benefitted from the close glance of the camera at certain moments. David Thaxton gave a slightly different take on Max that was very welcome.
It is the staging and direction that really makes this production of SUNSET however. It is just incredible! There are so many moments that just make this pop!
The Car Chase, with the title sequence, and stylised, contemporary movement from the company was a fantastic start.
The Entr’acte is nicely staged, with various ‘Easter Eggs’ and nods to past productions (starting with the watching of the original film, Nicole’s turban, the chimp costume, ‘Mad About the Boy’ on the mirror, the gun, the cut-out of Andrew Lloyd-Webber).
The Title Song is an amazing technical feat. The sound and video come across perfectly, and are in sync throughout. I am not sure how they managed this from the Theatre, all the way down the Strand, and then back into the Theatre, but it is absolutely to be commended.
The Hog-Eye moment in ‘As If We Never Said Goodbye’ still got me (just like in the ENO staging). The lights, the wind machine, the smoke, the swell of the orchestra! I had chills and tears in my eyes! Just beautiful!
Finally, Joe’s Death and Norma ‘s Mad Scene are absolutely breathtaking! The best version of these final moments that I have ever seen. The lighting (or lack of it in places), the blood! Again, I felt a little emotional seeing this - the first time that this has happened at this particular part of SUNSET. Nicole’s mad scene was truly unhinged. The lighting throughout is a real hallmark of the production.
The use of Young Norma, floating in and out was a masterstroke. I also liked how certain characters lingered or walked across the stage when they were clearly in the back of the mind of the characters (such as Norma staying on stage throughout ‘Too Much In Love to Care’ and during most of Joe and Betty’s interactions, or Artie walking across the stage when Betty can clearly thinking of him).
It was just refreshing to see a show I know well given such a radical that kept you guessing and on the edge of your seat. It was like seeing a completely new show. The line readings were also so different (with more modern anachronisms in places) that this too was surprising.
There were cuts to the material, and changes to lyrics, but what was there originally was not missed. I actually prefer it without ‘The Lady’s Paying’. Are there some cuts in ‘Too Much In Love to Care’?
This was clearly not a traditional SUNSET. It was as if Nicole in 2023 was seeing parallels between Norma’s life and her own (she a slightly faded pop singer), and was reenacting Norma’s story in her own head imagining how this would play out now (hence the modern style), giving a very meta interpretation of the material. However, that being said, it very much honoured the source material with the silent movie stylings and delivery, as well as the very obvious reliance on the film medium, as well as leaning heavily into the camp.
My only slight quibble would be that, if I did not already know the material, and was seeing SUNSET for the first time, would I have been able to keep up with what was going on? The lack of props and scenery could potentially cause confusion to the story-telling.
Oh, and the orchestra sounded gorgeous, helped by wonderful sound design!
This should definitely be winning awards for direction, lighting and sound design. This is my first Jamie Lloyd production, but will definitely not be my last.
I went with 4 stars, as I had minor issues with it, but still an absolutely incredible production, that I have been thinking about ever since I saw it this afternoon. I wish I could see it again!
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Post by AddisonMizner on Dec 30, 2023 9:22:56 GMT
Finally saw this on Disney Plus yesterday, and absolutely adored it! Very funny, and I laughed out loud throughout. It was scathing of its subject matter, but with a big heart. I had tears in my eyes at the end too, as I found the last number very moving. I’ve had it on repeat ever since!
I also liked that this had a narrative arc, rather than being just a series of vignettes as I had expected.
5 stars from me.
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Post by AddisonMizner on Dec 24, 2023 20:51:29 GMT
Merry Christmas All! I hope that you all have the best of times, no matter where you are or what you are doing.
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Post by AddisonMizner on Dec 15, 2023 20:15:15 GMT
The cast album for this has been released today. That is my morning listening sorted tomorrow!
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Post by AddisonMizner on Nov 25, 2023 17:23:13 GMT
I have read Michael's book (I actually listened to the audiobook, which I would definitely recommend), and absolutely loved it! I am a huge fan though, so may be slightly biased.
I adored the 2023 ASPECTS after hating previous productions, so think his view of it is completely valid. I just didn't have the problems with the material that others did. Michael is also very close to the show, so it is no surprise that he feels the way that he does.
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Post by AddisonMizner on Nov 17, 2023 18:59:21 GMT
I am tempted to book this, as Nottingham Playhouse is my local theatre.
However, I really didn’t like this show in London and the more I have thought about it, the more I have HATED it! The film did not solve any of its problems either. The book is incredibly weak, particularly the second act, the music is catchy but uninteresting and not very sophisticated and I found the central performance in London not great either.
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Post by AddisonMizner on Nov 7, 2023 22:08:22 GMT
Thank you for the review. I’m very jealous that you got to see this. I am hoping for a run in London at some point and a cast recording. I need to hear this score!
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Post by AddisonMizner on Nov 7, 2023 22:06:19 GMT
Please say it is Emilia Clarke? Although not sure she could sing it.
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Post by AddisonMizner on Nov 4, 2023 21:35:06 GMT
I felt like I witnessed something really rather special at today’s matinee. It is probably one of the single most electric afternoons that I have ever had in the theatre.
People who say that Sondheim doesn’t write tuneful or hummable music need to see this show! Hit after hit, with such a diversity of voice from show to show, showcasing what an utter genius he was. His music means so much to me, and to see it given such care and attention here is incredibly moving. The sound design was done so well that it made sure every single lyric was heard with the utmost clarity. The orchestra made his songs sound the best I have ever heard them.
Say what you want about Cameron Mackintosh, this is how you put on a show! Rather than merely a concert, this was a series of staged excerpts. I wouldn’t have felt short-changed if this was what we got for a full production of COMPANY or SWEENEY TODD etc. You could see the money on the stage. The sheer amount of energy on display was incredible. Every number was performed with the attack of someone who was performing it for the first and last time. Goodness knows how the cast do that, night after night, and twice on two-show days.
Speaking of the cast, they were uniformly excellent, and vocally all ideal for the material. It was lovely to see Bernadette, an actress who is so interlinked with Sondheim and his work. The little snatches of ‘Children Will Listen’ and her Dot from SUNDAY were incredibly moving, and yet another occasion where I started to well up. I would have loved more of these from her. It was a joy to witness her ‘Send in the Clowns’ and ‘Losing My Mind’ though. It was a little taste of what it must have been like to see her do those roles on Broadway.
Lea was a real powerhouse! Surely it is only a matter of time now before we get her Mrs Lovett and Mama Rose based off of this concert. The whole SWEENEY TODD section was terrific (and I enjoyed hearing Jeremy Secomb’s Sweeney again after first seeing him in the Pie Shop version). Lea also had some lovely tender moments, such as ‘Loving You’ from PASSION, alongside these bigger moments, showcasing her versatility.
Clare Burt, Janie Dee, Bonnie Langford, Joanna Riding (a brilliant ‘Not Getting Married’) as well as Damian Humbley, Gavin Lee and Jeremy Secomb gave masterclasses in how to act through and put across a song.
The younger cast were stunning too. Bradley Jayden was really charismatic, and got me thinking how he would be a good George in SUNDAY. Christine Allado was sexy, and brought real fire whenever she was on stage, so much so that you couldn’t help but watch her. Jac Yarrow was an earnest stage presence, showcasing a wonderful voice. Jason Pennycooke brought lots of energy to his material. Beatrice Penny-Toure was a nice discovery for me. A name I didn’t know, but she has a really lovely ‘legit’ voice. I hope she gets cast in some other interesting projects off the back of this that I can go and see.
It really is hard to pick highlights. From the initial strains of the opening motif from SUNDAY IN THE PARK WITH GEORGE, and James Lapine’s immortal words, I was welling up. When the whole orchestra came in for the first time, along with the full ensemble for ‘Comedy Tonight’, it completely took my breath away from the sheer force of it. From there, I laughed, I cried and I laughed again. By ‘Sunday’ that ends the first act, I was in bits. It is a piece I just love! Can we get a full production of SUNDAY soon please)? I also felt very emotional during ‘Not A Day Goes By’ with all of the photos of the man himself. This is staged so beautifully too, with all of the performers facing the screen so that he is the main focus, ending really fittingly with Bernadette singing the last line. I feel blessed to have seen so many of Sondheim’s shows over the years, and even to have been in the same room as him on one occasion. This sounds utterly ridiculous, but I really miss not having him here with us.
My crying continued through the absolutely gorgeous choral arrangement of ‘Being Alive’. I loved this version when I saw ‘Putting It Together’ at the St James, and absolutely adored it here too.
An utter gush from me, but I doubt I will see anything as good this year, and it will stay with me for a long time. Quite possibly, the best thing I have ever seen! If I could get to see this again, I would. I could quite easily have walked back in at 7.30pm this evening to see it again. I will just have to make do with the BBC TV special of the concert. When are we getting the CD release?
Now, I am looking forward to PACIFIC OVERTURES at the Menier, but would it be too much to ask to get more stagings of Sondheim’s work in London? Let’s start with the SUNDAY I mention above. I would also love a SWEENEY (surely we are due one - was there not a rumour of Jenna Russell playing Lovett at one point?) I am also hoping we get HERE WE ARE too. In the meantime, this will more than do!
5 Stars (would be more if I could)!
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Post by AddisonMizner on Oct 28, 2023 20:39:39 GMT
I went to see the matinee of this today. Overall, I felt this was just okay.
I haven’t read the book, but I just didn’t find this particularly engaging. I was trying to diagnose why this was, and I think it may be due to the fact that it was quite disjointed. There are many short scenes, each with transitions where scenery is slightly shifted, and this ultimately kills any tension or emotional impact. They could have done away with these, and I believe it would have had a much better effect. I also felt that some moments were rushed, such as in key scenes between Shakespeare and Agnes, so they didn’t land as effectively as they could have.
Some of the acting was also over-egged, particularly from some of the side characters, with unnecessary shouting and wailing.
That being said, there were some positives too. I liked the structure, with the first half showing the early, blossoming relationship between Agnes and Shakespeare ending with the birth of their children, and the second half picking up years later with the death of Hamnet, the impact this has on the central relationship, and how Shakespeare’s writing of HAMLET ultimately brings about healing.
The simplicity of the set was also a plus.
Madeleine Mantock as Agnes was also very watchable, and I would like to see what she does next.
Glad I went, despite my misgivings.
3 stars.
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Post by AddisonMizner on Oct 27, 2023 19:26:10 GMT
Very tempted to go and see THE RAKE’S PROGRESS. I’ve never seen it, but would like to.
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