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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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Post by AddisonMizner on Oct 22, 2023 15:51:44 GMT
My local theatre, and I hadn’t even noticed this. Must have completely skipped over it in the season announcement. A new James Graham is always exciting for me, so will definitely be booking, especially as it is so local.
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Post by AddisonMizner on Oct 15, 2023 15:44:42 GMT
When is Press Night for the London run?
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Post by AddisonMizner on Oct 14, 2023 17:00:07 GMT
I am just on my way back from seeing the last matinee of this at the Curve in Leicester today.
I read the book years ago, and also saw the film adaptation, both of which were my reason for going to see this. It really is a beautiful show, that packs a huge emotional punch. I was in floods of tears by the end, but had been tearing up throughout. It is a fantastic adaptation of the novel, as well as a time capsule into what it was like for people at this particular moment in history.
The music is gorgeous. This score does not have standout numbers, but rather an intricate tapestry of songs that weave in and out of book scenes. There were melodic lines, harmonies, and lyrics that sent shivers down the spine. I particularly enjoyed the opening number, the song in the library of the Major’s wife, the Act of 1 and 2 finales, the ‘Writing Letters’ number and of course ‘Hello Stars. I hope they release a cast recording at some point, as I would love to hear this again.
The direction and staging were excellent. Projection and lighting were very well used here. The choreography in particular is a real highlight. Some of the stage pictures will stay with me for a long time.
This deserves a West End transfer, and I very much hope it gets one.
5 stars.
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Post by AddisonMizner on Oct 2, 2023 17:00:17 GMT
Are they likely to add a matinee for this?
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Post by AddisonMizner on Sept 27, 2023 18:52:54 GMT
Kimberly Akimbo announcement at 1.30pm tomorrow maybe? Where is this coming from? Would love to see KIMBERLY AKIMBO over here.
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Post by AddisonMizner on Sept 24, 2023 11:39:08 GMT
Bit of a technical mishap during today's matinee: {Spoiler - click to view}The remote controlled trigger for the blood didn't work. So we only got the voice over for Diana's suicide attempt, not the visceral visual effect. Poor Jamie Parker continued to mop up the perfectly clean floor, but I think people probably got what it was meant to be.
I was there too, and almost freaked out thinking they had changed the scene from the last time I saw it. But yeah, it seems it was just a mishap. My friend was seeing the show for the first time, and she reported she understood what the cleaning scene meant and thought the whole way of the scene was on purpose. It was my first time seeing the show. Watching and reading reviews I was told about this moment, and thought that I had missed it. I then realised it must usually happen in this particular moment, as I thought it was a little strange at the time when seeing him clean. However, looking back, I think it actually worked without the effect as it was like Dan was having his own mental episode.
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Post by AddisonMizner on Sept 23, 2023 20:11:15 GMT
I saw today’s matinee, and it was a real surprise. I thought that it was simply sublime!
Rock scores are not typically my thing (as some of you on here may have guessed), but this really worked for me. I have known of the show since its original Broadway run, and remember buying the cast recording at the old Dress Circle shop following a recommendation from a member of staff there. I liked the score, and a few of the songs were standouts, but the whole thing really shines in the context of the actual show. Songs come out of the dramatic moment and develop the character and plot. Some of the lyrics are really quite profound in what they are trying to say about families, mental health and life generally.
The book is very strong, contrasting dark, heavy moments with those of lightness and levity well. The story captivates from its first moment to its last and does not let-up on momentum. The piece packs a real emotional punch. It is so far removed from my own lived experience, and I didn't really feel much in the first act, but I was in bits for most of the second, struggling to talk when the lights came up.
The way that all threads are joined together is beautiful - the relationship between Natalie and Henry that in some ways reflects the early relationship of Diana and Dan, triggering memories for Diana.
The theme of mental health, and how one family members’ struggles with it touches others is wonderfully explored, with the presence of Gabe on stage being a physical manifestation of this. He is threatening to be ‘seen’ by anyone of the characters at any moment. Dan quite obviously sees him but is trying to block him out, showing how he has suppressed his own grief in order to help Diana and stay strong for the family. This ultimately falls away when Diana leaves him, and he finally has to face his own demons and acknowledge Gabe. Natalie also almost succumbs to her own problems and worries that history is going to repeat itself with her. There is a lovely moment when Gabe touches her hand, and there is a slight moment of recognition, showing the mark her parents have left on her, and what may happen in her future. The scene between Diana and Natalie in the second act was a much-needed moment of connection and catharsis between the two.
The cast were uniformly excellent, with Cassie Levy as Diana, Jack Wolfe as Gabe and Eleanor Worthington-Cox as Natalie being particular standouts. The production and set were simple, but effective. I liked how the band were revealed at moments of mental instability and trauma showing the ‘noise’ within the character’s heads. The circular revolve was a representation of themes within the book. There was also some really effective use of lighting.
Again, I absolutely loved it and it is quite possibly the best thing I have seen all year. Musical theatre writing at its finest! An easy five stars, and I really hope this transfers.
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Post by AddisonMizner on Sept 22, 2023 19:58:51 GMT
I had decided against booking this, but the reviews I have read here make me intrigued. Add me to the chorus of people who don’t mind the cuts.
How many players are in the orchestra?
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Post by AddisonMizner on Sept 17, 2023 17:52:16 GMT
I didn’t realise there was a matinee performance of this. Gutted that I missed it!
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Post by AddisonMizner on Sept 17, 2023 17:51:24 GMT
I don’t know the show or score at all, but it is Stephen Schwartz so consider me booked! The Menier looks like it is well and truly back, what with this and PACIFIC OVERTURES.
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Post by AddisonMizner on Sept 15, 2023 17:36:14 GMT
I really hope this is true! I have never seen PARADE and really want to. I nearly booked a trip to New York to see this production. I love the score!
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Post by AddisonMizner on Sept 6, 2023 19:44:22 GMT
I've got 'The Discreet Charm of the Bourgeoisie', but can't find the film of 'The Exterminating Angel' anywhere. I've seen the Thomas Ades opera though, and loved it.
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Post by AddisonMizner on Sept 3, 2023 21:07:53 GMT
Sounds interesting. The COME FROM AWAY comparisons have me intrigued. I love that show. As others have said, the music is very DEAR EVAN HANSEN, but the score was by far the best thing of a show that I otherwise hated.
Is this likely to extend past November, as I doubt that I will fit this in before the New Year otherwise?
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Post by AddisonMizner on Aug 29, 2023 11:36:53 GMT
Is this likely to be seen in London at some point do we think? Maybe at the Menier?
I hope we also get a cast recording to preserve his last score.
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Post by AddisonMizner on Aug 24, 2023 22:45:31 GMT
Is Celinde in this until the current February end date? Also, does anyone know of any holidays or performances that she does not do? Sorry, I can’t seem to find this information on the Bridge website, but am desperate to see her as Sarah Brown after her glorious turn in LOVE NEVER DIES. Just asking this again, in case anyone knows anything.
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Post by AddisonMizner on Aug 22, 2023 22:08:40 GMT
Is Celinde in this until the current February end date? Also, does anyone know of any holidays or performances that she does not do? Sorry, I can’t seem to find this information on the Bridge website, but am desperate to see her as Sarah Brown after her glorious turn in LOVE NEVER DIES.
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Post by AddisonMizner on Aug 22, 2023 22:04:26 GMT
I went to today’s matinee performance. I saw the original Adelphi production (my first brand new Lloyd Webber show), and have loved the show and its score from the moment I first heard it. As others have said, it is his best score, and one of the most achingly romantic pieces ever written for the stage. I don’t have issues with the book. I see it as just like an opera or operetta in that respect.
This concert production was the strongest case for the material that there is ever likely to be. Firstly, the score as played by this orchestra was glorious! I thought that I had died and gone to heaven! I had goosebumps, shivers and tears in my eyes throughout (much more so than when I saw the original production). I could barely speak by the time the interval came around, as I was feeling quite emotional. This continued well into the second act, and I felt the same in the final scene.
I was really impressed with the staging and choreography. It was very slick, and looked as though they had been performing the show for months. This was particularly the case in the two vaudeville numbers ‘Only For Him’ and ‘Bathing Beauty’ (the placement of which I have never liked. It dissipates any dramatic tension that has been created in ‘Devil Take The Hindmost’, and would be much better placed in the first act. However, I didn’t really seem to have that problem in this iteration). I also liked the simple, but effective stagings of the carriage scene in Act One, and how they created the impression of a piano in certain scenes without them actually having one. The lighting was a particularly highlight - I loved the lighting at the end of ‘Til I Hear You Sing’, during the ‘Coney Island Waltz’ sequence and the fog and lighting during ‘Once Upon Another Time’ to name but a few. There were too many to mention then all. This concert could run in the West End for 6 months as it is, and no-one would feel short changed.
The cast (with one exception) were uniformly excellent.
I think I may be in love with Celinde Schoenmaker! This is not the first time I have seen her on stage (that was in THE LIGHT IN THE PIAZZA), but here she just completely knocked me sideways! Her Christine was just gorgeous! It is certainly the best I have ever heard the role sung, and some of the best singing I have ever heard on the musical theatre stage period. Every note was perfect from the bottom of her voice to the top. Not only that, but she coloured the sound to reflect the text and dramatic moment - sometimes strong and forceful (as in her first meeting with the Phantom), sometimes vulnerable (as in the final denouement), and in others just a beautiful enveloping of sound (‘Love Never Dies’). Hers is a rare voice in musical theatre these days. Every time she opened her mouth I could have burst into tears. I was shaking in my seat throughout her ‘Love Never Dies’, and could have given her a mid-show standing ovation. She had such poise and elegance. She needs to release an album of musical theatre songs as soon as possible. I can’t wait to see what she does next, and will be watching her career with interest. What she could do with Francesca in THE BRIDGES OF MADISON COUNTY!
Matthew Seadon-Young was a strong Raoul, with a slightly different take on the role than I have seen previously. He didn’t lean so much into the self-pitying drunk, and was more formal and business-like, as someone has said above. It was again very nicely sung.
Cian Eagle-Service was a lovely Gustave, and gave such a stirring performance for someone so young.
Courtney Stapleton and Sally Dexter were good in their roles of Meg and Madame Giry respectively.
I’m sorry to say that I was bitterly disappointed with Norm Lewis as the Phantom. Yes, there was that line flub during ‘Til I Hear You Sing’, but there were other such moments throughout as well (such as missing some entries when Christine and the Phantom were meant to be singing together). I could have forgiven these (it was a concert presentation with little rehearsal after all) if the rest of his performance was up to scratch, but I just thought that the score was beyond him. His voice was uneven throughout, and strained in parts, particularly in the higher register. He appeared even weaker alongside Celinde, because she was just on fire. He just became a little uncomfortable to watch at points for me. This was not entirely his fault. He is a baritone in what is essentially a tenor role. Had this been something like Sweeney Todd or Porgy, I’m sure he would have knocked it out of the park. However, in this role, I would have much preferred someone like John Owen-Jones. That being said, I can totally see why they cast Norm, and I am glad I have seen him live, as it is an all too rare occurrence on these shores. It was special for that reason alone.
Overall, this felt like a real event, highlighting the score for the absolute marvel that it is. Here’s hoping that it leads to a full production some time in the not-so-distant future (preferably with Celinde as Christine).
4.5 stars (would have been an easy 5 if not for Norm).
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Post by AddisonMizner on Aug 20, 2023 11:23:16 GMT
Gorgeous clip! Chills again. Thank you for posting.
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Post by AddisonMizner on Aug 19, 2023 22:11:03 GMT
Here's hoping it may end up in London at some point. Maybe at the Menier or Southwark Playhouse?
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Post by AddisonMizner on Aug 19, 2023 22:08:55 GMT
I am really excited for this too, and can't wait for Tuesday. I agree that it is one of Lloyd Webber's most beautiful scores.
Rehearsal videos have been posted, and I have to say that they have made me even more excited for it!
Celinde's 'Love Never Dies' in particular sounds glorious. I had goosebumps, and this is only a poor quality rehearsal video! The actual song with full orchestra is probably going to be ravishing!
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