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Post by AddisonMizner on Aug 17, 2023 20:09:49 GMT
Any news on when tickets go on sale for this?
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Post by AddisonMizner on Aug 17, 2023 7:40:02 GMT
Thank you. That is very exciting about the cast album, and I can’t wait to hear a new Adam Guettel score.
It is a shame that there is no news of a transfer yet though.
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Post by AddisonMizner on Aug 15, 2023 20:05:55 GMT
Does anyone know if this is having a future life, or at the very least a cast recording?
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Post by AddisonMizner on Aug 14, 2023 17:45:59 GMT
The Jungle Book Aida (London) Coco Sleeping Beauty The Princess Bride (not a Disney film but have the rights) Have all been rumoured/confirmed as in development. I know that David Yazbek is now writing the score for THE PRINCESS BRIDE, but part of me wants to hear what Adam Guettel did with the material. Alan Menken is also working on a musical version of NIGHT AT THE MUSEUM (although not a Disney film).
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Post by AddisonMizner on Aug 14, 2023 10:49:58 GMT
I'm surprised that this has not been talked about here, but this film is released in a few weeks time, and very much looks worth a watch.
The humour certainly seems to appeal to my sensibilities.
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Post by AddisonMizner on Aug 14, 2023 10:45:38 GMT
I went to see BARBIE yesterday afternoon (13th August). It is absolutely bonkers and all over the place, with Gerwig throwing everything but the kitchen sink at it. It certainly is a required taste, with a very specific comedic style, but I thought that it was simply wonderful!
My review maybe slightly biased as I am a huge Greta Gerwig fan, particularly of her directorial efforts. Her films LADY BIRD and LITTLE WOMEN are two of my favourites from the last ten or so years. I liked LADY BIRD the first time I saw it, but absolutely LOVED it the second time. It hit me harder, and I cried multiple times. LITTLE WOMEN is very much Gerwig's masterpiece, and a masterclass in adaptation. The way she restructures the story and scenes from the original novel packs a greater emotional punch. Both are rare films that hold up to a second viewing. Therefore, BARBIE was highly anticipated by me even before all of the hype.
What Gerwig comes up with here is something that is visually stunning and hilarious (I have not laughed like that at a film for a LONG time! I laughed so hard at points that I had tears streaming down my face, and still laugh now remembering certain scenes, including one particular moment when Ryan Gosling's Ken is out of sight, reacting to Margot Robbie's Barbie finally wanting to be schooled on the patriarchy). I think that a lot of the humour comes from the fact that the film subverts expectations at almost every turn, and creates that element of surprise (such as another particularly meta moment from Helen Mirren's narrator about three quarter of the way into the film). I am interested to see if it holds up on a second viewing now that I know what to expect and all of the story beats. It is also incredibly intelligent though, dealing with serious themes (feminism, toxic masculinity the role of a doll in representing all of this positively etc), and is at times profound. Whilst I didn't get emotional this time, I certainly had shivers at key points. The history of the Barbie doll is also well weaved throughout, as is the discourse surrounding it from over the years. This is done in an incredibly balanced way. I keep saying that it is like an arthouse/indie film on a Hollywood budget.
I loved how integral the music was to the film. The stylised opening where Lizzo's song is heard twice with different lyrics as a commentary on the action was a delight. This very much continued in the emotional ends of the film with Billie Eilish's 'What Was I Made For' in a similar vein, reflecting on how Robbie's BARBIE is feeling at that particular dramatic moment. I was worried that Gosling's 'I'm Just Ken' wouldn't work in the context of the film as it is the only true musical song within the film. However, I needn't have worried. Because of how music is used throughout, it doesn't feel out of place at all, and is one of the highlights of the film. I loved the Dua Lipa scored dance sequence too! The musical style is perfect for this film. There is little wonder that talks of a musical adaptation have been talked about, as it practically leaps from the screen. Gerwig herself cites lots of movie musicals (such as 'Singing in the Rain') as direct influences.
The cast, led by Robbie and Gosling is excellent. A lot has been said about Gosling's Ken, and he does steal the show, but Robbie's Barbie is the emotional heart of the film and she is incredibly touching, as well as being so utterly perfect for the role. She gets that mechanical doll quality at the start, as well as the slight dorkiness of Barbie ('Yay, space!'), but gradually becomes more human as the film progresses. I loved looking out for all of the actors and cameos involved throughout as well (including I think, a past Love Island contestant).
Saying all of that, it is far from perfect. The film romps along with twists and turns, but I felt myself starting to lose concentration in the last 15 minutes of the film as everything was wrapped up. I don't know what Gerwig could have done otherwise. The last gag is the perfect way to end the film though, and is very funny.
My brother, who I was with, didn't like it, finding it slow. I couldn't disagree more with his view. Overall, Greta Gerwig hits it out of the park again. Just GO (although you probably have already)!
4 stars.
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Post by AddisonMizner on Aug 12, 2023 19:27:11 GMT
I saw today’s matinee (12th August). Like others on this board, I went because it won the Tony for Best Musical, as well as the Pulitzer, and I like to see interesting musicals that develop the form.
It was certainly that. There is lots to enjoy, and I was never bored. The score is good, with moments of brilliance. The last two numbers were highlights for me in particular. The show itself is quite funny, but also has many profound things to say. It has certainly got me thinking, even a few hours after seeing it. Similar to other shows I have seen recently, it is essentially about a man coming to terms with his trauma, and trying to make sense of this by writing a musical - the trauma of his childhood growing up as gay in a highly religious, conservative family, the trauma of his identity as both a black and gay man not really fitting into any of those norms, and the trauma of coming to terms with himself and who he is. The lighting design is also beautiful throughout. As a piece of art, I really can appreciate it.
However, it just ultimately left me cold. I didn’t feel any emotional connection to it whatsoever. This could be because I am a straight, white, single, 33 year-old male though!
In some ways, I actually thought it did too much explaining to the audience - do we really need to be told at the start that the six other people on stage are the thoughts in Usher’s head, or that a lot of what we are seeing on stage is down to Usher’s own self-loathing when that is already obvious? The themes just seemed a little too explicit. I could be over-analysing this thought.
The vulgarity was also a little too much for me - I’m really not into that sort of thing normally at all, and it was just too in your face for me (which I appreciate is entirely the point)!
Overall, I am glad that I have seen it, and there are many positives, but it is far from a perfect piece of theatre for me.
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Post by AddisonMizner on Aug 9, 2023 17:46:40 GMT
I went to today’s matinee (9th August) and thoroughly enjoyed it. MISS SAIGON is my favourite of Boubil and Schoenberg’s shows, and if anything, the production highlighted the strength of the material - a great story and a fantastic score! It is an intimate piece really, and doesn’t need all the bells and whistles.
I thought that the staging was excellent overall, and in some cases genuinely did give a new perspective on the material. This was particularly the case in the big numbers (‘I Still Believe’ and ‘Bui Doi’ with their focus on PTSD, the end of ‘I’d Give My Life For You’ showing them onboard a boat, echoing current conversations about immigration and ‘The American Dream’). There was a real narrative drive to the staging in these numbers. I liked the framing device of older Tam that bookends the show. The evacuation/helicopter scene was really well done, and actually quite breathtaking. It probably is my favourite of the stagings I have seen. It shows that you do not need to see a helicopter on stage for it to be effective.
Saying that, I did have a few issues with it:
Some of the big choral moments (such as ‘This is the Hour’ after ‘Thuy’s Death’) didn’t necessarily have that spine-tingling impact that a bigger chorus could provide.
I also felt that the staging of the two death scenes also did the piece a disservice. Having both Thuy and Kim as floating spirits watching on as characters cry over a non-existent body could have been effective, but robbed the moments of their emotional impact.
Jessica Lee was a gorgeous Kim, but was a little too shouty for my taste at points. I found Christian Maynard as Chris slightly irritating. He occasionally did this gravely effect with this voice that was just annoying.
Some of the blocking was also off, with you often seeing many backs or having actors blocking your view of other characters reactions (and I was front-facing the stage). I know it is difficult with that sort of thrust stage, but I still think it could have been avoided. I also don’t know why they bothered with having a revolve, as it was barely used. The revolving staircase was used effectively though to add height.
I didn’t really have a problem with it, but I don’t think that having a female Engineer really added anything. It just made the character slightly softer.
Cameron Mackintosh was floating around outside the Crucible this afternoon. I don’t know whether he was in seeing the show though. I wonder if this means anything about a future life?
Certainly worth a visit.
4 stars.
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Post by AddisonMizner on Aug 5, 2023 19:59:56 GMT
I went to the matinee today (5th August), and thought that it was absolutely incredible! I know nothing about football, and went purely as a fan of Graham’s work. Some of the jokes and impressions went over my head, but what I love about Graham’s writing is that it doesn’t expect you to know anything about the game, and gives you everything you need to know, but not in a contrived way.
However, as others have said very eloquently on this board, the play is not really about football at all. It encompasses so many things - toxic masculinity, mental health, the fickleness of fan culture, the history of England and what it means to be English. Ultimately though, it is about the fear of failure, how we deal with trauma and the benefits of therapy. I loved the arc of the story, as we start with Gareth Southgate looking back on his penalty miss. This is then the spectre that haunts him throughout the rest of the play. He thinks he has been given the chance as England manager to make up for this mistake. What he, and we as the audience realise by the end is that this is in fact not really the reason at all, but instead to make sure that no other player has to deal with the same trauma, that has essentially defined Southgate’s whole career. It leaves us with the message to be kind to one another. Kindness is the enduring route to success.
This is helped by Joseph Fiennes wonderful performance as Southgate. It didn’t feel like an impersonation at all, but a real embodiment of the man.
Graham is a master dramatist. How he structures his pieces is always impressive to me, and particularly here with how he turns this episodic story into something with dramatic cohesion. We see in the first act how he builds up the team with his completely new philosophy, and how this leads to success in Russia. In the second act, how we then see that start to slip away, as he almost abandons this philosophy, resulting in a parting of ways with Pippa and the detrimental effect this begins to have on the team, before he then sees the light again. How we weaves key moments through the bigger tapestry is also impressive. All the key ones from the past few years are here - Covid, racism hurled at players during the Euros, the taking of the knee, the Lioness World Cup win, the wider political landscape and the steady parade of prime-ministers from Teresa May to Boris Johnson to Liz Truss as well as the wearing of the armband for LGBTQ+ rights at the 2022 World Cup to name but a few. None of these feel shoe-horned in though, and just a natural part of the narrative.
The 3-hour running time flew by. I laughed (a lot) and actually teared up at other moments. I felt quite emotional at the end of Act 1.
I really liked the set and overall staging too. It was quite breathtaking at times. The use of the projections and neon circles almost creates the awe-inspiring expanse of Wembley Stadium. How the actors moved between scenes with chairs and set pieces was almost balletic, and how they often sit in unison at the start of a scene reinforced the idea of a team. The use of music also really lifted it.
It would be a crime if this did not transfer and have a further life. I can see this having a big commercial appeal. My dad for one would love this, and I can’t wait to hopefully take him if DEAR ENGLAND does make it to the West End.
An easy 5 stars, and perhaps the best thing I have seen so far this year. I loved it!
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Post by AddisonMizner on Aug 5, 2023 5:03:01 GMT
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Post by AddisonMizner on Aug 3, 2023 18:52:50 GMT
Any word on when the recording is being released?
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Post by AddisonMizner on Aug 1, 2023 19:11:53 GMT
I went to the matinee of this today. I had seen the film some years ago now, but had never seen EVITA on stage until today.
My overall view is that it was just okay. To be honest, some of my issues are to do with the material itself. I just don’t think that the storytelling is very clear (unless I am missing something), and I feel like you need to know something about Eva Peron before you watch it, as otherwise you miss some of the intricacies of the piece. There were many in the audience around me who didn’t have a clue what was going on! For me, you shouldn’t need to know anything before you go in, and the material should do the heavy-lifting for you.
I’m afraid to say that Auliʻi Cravalho was out of her depth and just not good as Eva. Again, not entirely all her fault. Her music is poorly written for the voice, requiring her to belt at the top of it for a sustained period of time. She was frequently either under the note or lent into the acting more so that she didn’t have to sustain them. She looked like she was in a high-school production compared to the ensemble around her, and this created a vacuum at the heart of the piece itself.
There were some saving graces however.
As said above, the actress playing the Mistress was good, and her ‘Another Suitcase in Another Hall’ was very pretty.
There were some nice visual moments for a semi-staged concert, particularly at the start of ‘Don’t Cry For Me, Argentina’ when she comes down the staircase in the white dress. I also liked a lot of the mise-en-scene around Eva’s bed near the end.
However, the performance really belongs to the orchestra. They were sublime, and the music sounded glorious! I really cannot wait to hear LOVE NEVER DIES now with that orchestra later this month. I think it really is going to be something special (I’m pretty sure I saw Celinde in the audience this afternoon too).
Glad I went, but it could have been better. I much preferred ASPECTS OF LOVE. I’ve booked for the Leicester Curve production of EVITA, so we will see if that fares any better.
On another note, it is my first time going to the Theatre Royal Drury Lane since the refurb. What a beautiful theatre! They really have done an astonishing job with it. Worth going just to be in that building.
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Post by AddisonMizner on Jul 2, 2023 20:09:37 GMT
WERTHER (Saturday, 1st July)
I went to see the evening performance of this on Saturday. It is one of my favourite operas - the music is beautiful. I have seen many cinema screenings and recordings, but this was my first time seeing it live. I would have liked to have seen Jonas, but I am not too disappointed. As I have said above, the voice is just not what it was.
This really is a beautiful production. The sets are gorgeous, particularly the Act 3 ‘House’ set. The use of light also created some really lovely imagery, especially with Charlotte against the window.
Francesco Demuro did an admirable job as Werther. It must be daunting stepping in at such short notice, but he really began to open up from Act 3 onwards. The rest of the cast also did a fine job. Aigul Akhmetshina really was the star of the night though, with some glorious singing that truly soared over the orchestra. I am looking forward to hopefully hearing her again in CARMEN next season.
IL TROVATORE (Sunday, 2nd July)
Today, I went to see the new production of TROVATORE. A wacky production, but one totally in keeping with the story. Some fine singing in this too, even Gregory Kunde who it was announced was suffering from some sort of allergic reaction. Disappointed that Ludovic Tezier was not singing, but will hopefully hear him in something else very soon.
I don’t know how the singers would feel about all of those steps though. It must be an absolute pain to sing whilst climbing up and down those!
All-in-all, a wonderful weekend spent at the Royal Opera House!
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Post by AddisonMizner on Jun 30, 2023 18:27:56 GMT
Kaufmann now out tomorrow and for the final performance of WERTHER. I will be seeing Francesco Demuro, who I saw in the ROH production of RIGOLETTO as the Duke (a replacement for Javier Camarena).
Not too fussed - I have heard Kaufmann many times, and I love this opera so going more for that anyway.
I am however disappointed that Ludovic Tezier is out of TRAVATORE which I am seeing on Sunday. I don’t think I will hear him live, as every time I go to see him, he hasn’t sung. What a voice! At least I still (hopefully) have Jamie Barton to hear in the cast.
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Post by AddisonMizner on Jun 27, 2023 20:54:01 GMT
I saw the news of this too.
I'm seeing WERTHER on Saturday evening. I'm half anticipating that Kaufmann will still be out but you never know! I'd love to hear him in this role, even though the voice is on diminishing returns.
If he is out, I wonder if Florez will still be the sub. I've never heard him live, and would like to, but not in this role. He isn't really a WERTHER. I will take him if necessary though - as said above, it is an impressive replacement!
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Post by AddisonMizner on Jun 14, 2023 17:51:38 GMT
I would be interested to go and see this if it was like the original or Bochum productions.
I saw the UK tour with 3D glasses, and it didn’t really do anything for me.
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Post by AddisonMizner on Jun 12, 2023 18:30:04 GMT
I always find I like the music of Tesori shows, but the musicals themselves leave me cold. I felt this way about CAROLINE, OR CHANGE, VIOLET and FUN HOME. I enjoyed her opera, BLUE - probably the best thing of hers I have seen. I have only seen the recording of the original Broadway cast of SHREK (it was ok), but have not seen THOROUGHLY MODERN MILLIE.
Hope this is true about KIMBERLY AKIMBO though - I love the cast recording, and it looks like this may work dramatically too. I will definitely go and see it if it indeed happens.
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Post by AddisonMizner on Jun 10, 2023 19:55:03 GMT
I have written on here before about my history with this show. I saw the UK tour with David Essex when I was in my teens and absolutely hated it! The problem for me was the story - I just couldn’t get on with it. Everybody was just sleeping with each other, and I found it laughable. I remember saying at the time that “I don’t even think Michael Ball could save this show”.
Skip ahead to me seeing today’s matinee at the Lyric, and it is perhaps my biggest surprise of the year so far - I simply ADORED it! Nothing has changed in the story, but I just don’t have the same issues with it that I had in my teens. The changes are mostly all for the better, and I like the symmetry that has now been created between the two acts, both starting with dressing room scenes. It may be that my tastes have changed in these intervening years, but I actually think the characters and story are emotionally quite complex. The reviews I think have been quite unfair.
It helps that the production is so well-directed and cast. I loved the fluidity of the staging, and enjoyed the projections during scene changes. I remember that the UK tour kept using blackouts, which really stopped the momentum. This was a much better solution. The painted backdrops were occasionally breathtaking!
As for the cast, Michael Ball is fabulous! He oozes charisma, and you can practically feel the star wattage every time he is on the stage. You cannot take your eyes off of him. “Love Changes Everything” makes perfect sense in its new context, and is particularly beautiful in the way it is delivered - not as a huge bombastic anthem, but as an intimate reflection on love. In the past, this song has stuck out for me as one of the weaker numbers in the score, but really fits here. Having seen him perform many times, it was a privilege to see him in this, and it felt really special.
Laura Pitt-Pulford was also very impressive as Rose. She made me well up with tears twice - once after George’s funeral, and then again during “Anything But Lonely”, which was just emotionally raw. I still felt incredibly emotional during the curtain call.
The other roles were good, with Danielle De Neise being another stand-out for me. Anna Unwin was a nice Jenny (and the likeness between her and the younger actress was incredible). Only Jamie Bogyo I found to be a little wooden.
The score is a marvel and sounds glorious here. It often had that Lloyd Webber effect of sending shivers down the spine. I don’t mind the constant reprises - especially when the tunes are this good! In fact, how tunes are used as a tool for recall to earlier times/moments in the show is wonderful, and is therefore perhaps Lloyd Webber’s most complex. Add me to the chorus of voices who want a cast recording! Surely this must be on the cards?
All this to say, I could have quite easily sat through this again a second time this evening.
Forget the naysayers, and GO!
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Post by AddisonMizner on Jun 3, 2023 23:42:22 GMT
Well, if Lily James is in it, sign me up!
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Post by AddisonMizner on Jun 3, 2023 23:41:13 GMT
Really hoping for a transfer of this!
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Post by AddisonMizner on Jun 2, 2023 22:27:15 GMT
I'm just back from seeing Carrie's solo tour, AN OPEN BOOK in Nottingham tonight, and I thoroughly enjoyed myself!
I've never seen Carrie live on stage before, but know of her work, as well as her novels and videos on YouTube.
I loved that this wasn't just a traditional stand and deliver concert, and that there was a through-line to the entire evening - stories on a theme that led to memories from her life and then a related song, ending with her putting that story back on the shelf. That it finished with the audience having written the script of the show with her was a nice touch. Her final message to the audience actually gave me something genuinely to think about.
I didn't enjoy all of the songs (some were just not what I would personally choose to listen to, and I never like all the songs at this sort of concert anyway), but the vast majority of the choices were excellent, with a good variety of genres and styles covered. Some that were to be expected, as well as some nice surprises. I liked how Carrie didn't always go for the obvious (such as singing 'Stars' rather than one of the Eponine or Fantine songs - certainly to start with). I can understand how this may put others off though, who may just want to hear her 'hits'. There was nothing from THE ADDAMS FAMILY or CINDERELLA for example. The recurring 'Another Chapter' from BETWEEN THE LINES was a nice way to start each act. I understand why there wasn't, but I would have really liked a song list, as whilst I knew most of the songs, I didn't know all of them, and she didn't introduce them. Here's hoping we may get an album once the tour is done!
Carrie came across really well. She had some genuinely interesting anecdotes. Her stories were in turn enlightening, funny and moving. She sang really nicely too.
I'm really glad I went, and it is well worth your time if you get the chance.
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Post by AddisonMizner on May 31, 2023 22:09:07 GMT
I was listening to the Jon Robyns episode of the Musicals Magazine Podcast that was released yesterday, and was reminded about this. It sounds interesting so may book. The track they have released is certainly nice:
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Post by AddisonMizner on May 27, 2023 13:23:07 GMT
Can you see faces clearly from Row B of the Royal Circle? Trying to decide between that and the Stalls? As its a concert personally I'd go for stalls as there isn't really anything to see set wise. Thank you, alece10. Tickets all booked! Really excited for this! First visit to the Theatre Royal, Drury Lane since the refurb too. I know Norm Lewis has played the Phantom before, but in LOVE NEVER DIES, the music sits slightly higher in the voice. I'm sure he will be fantastic, but understand why there are maybe some concerns.
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Post by AddisonMizner on May 26, 2023 17:59:14 GMT
Can you see faces clearly from Row B of the Royal Circle? Trying to decide between that and the Stalls?
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Post by AddisonMizner on May 24, 2023 15:40:53 GMT
This is very exciting! I ADORE this score - one of ALW’s best! I was one of the few who enjoyed the original production, although the Australian one was definitely an improvement. Hoping to go to one of the two dates - is there a matinee?
Would love a full production/tour too, but this will do for now!
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Post by AddisonMizner on May 21, 2023 10:43:52 GMT
I’m going to say it. I went to day 2 of the tour at Oxford and thought she was utterly brilliant…it’s a very clever show and her voice is crystal clear…I really enjoyed it! Good to hear. I am going a week on Friday, and looking forward to it.
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Post by AddisonMizner on May 19, 2023 19:16:29 GMT
Rob Houchen? (Purely who I would want to see). Probably looks young enough alongside Nicole too.
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Post by AddisonMizner on May 19, 2023 16:52:03 GMT
Not a fan of Nicole’s casting. She just seems totally wrong for the role for me, and I’m not entirely convinced she will be able to act it with any nuance. Grizabella and Norma aren’t really comparable at all.
That being said, I am still planning on going to see this as I love SUNSET, and I am interested to see what Jamie Lloyd will do with it. It still smarts that I never got to see his production of EVITA.
I just hope that the orchestra is big, and we don’t end up with a keyboard and tin whistle!
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Post by AddisonMizner on May 17, 2023 17:38:23 GMT
Not an exciting season for me at all I’m afraid. The only production that interests me is PETER GRIMES.
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Post by AddisonMizner on May 16, 2023 18:10:16 GMT
Maybe Jodie is gearing up for Betty Schaefer at the Savoy! If only... Yes please! This would get me through the door of the Savoy to see SUNSET for sure.
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