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Post by JJShaw on Feb 10, 2023 22:54:38 GMT
What a treat for us to have two musicals that are new and not full of broadway transfers! (joking!! kind of...!)
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Post by JJShaw on Feb 10, 2023 22:29:36 GMT
What I do find interesting is last time they replaced the cast, they made a big deal out of it and held a fan appreciation day. This time, it was done very quietly. I do think that Heathers is one of those shows that could extend its shelf life a lot by changing the cast every few months and perhaps also provide a starting point for work for fresh graduates. The salary cost versus ticket pricing is always a difficult consideration. I presume they've set pricing and discounting to the level where this is profitable to run, but Heathers is past the premium pricing date. Plus, this is aimed at a generally young audience without much of a disposal income. So the question becomes, close it and either have a dark theatre or an untested show, or continue running and try and make the costs work. At the same time, I hate the idea of people working for less than they're worth (not that that doesn't happen across a variety of careers). I'm almost surprised that they haven't worked on the actor-musician version of Heathers yet (he jokes). I am sorry for anyone unexpectedly out of work and I hope other opportunities appear for them soon. Loads of really good points here! I think the big sticking point for this show in particular is if, say it had found a home at another off west end venue or smaller home like the Arts Theatre, people wouldn't be too irked. However The Other Palace had always been talked about as being a place to champion and give a change to new shows and give them a nice sizeable space to have a start. Its philosophy even mentioned new British musicals specifically. Heather is nether new nor British (it may be new to the UK but it was a tried and tested show over in the US before so it is not new). It's also another strike against PTM who is not really gaining a great public profile within the theatre community, and while it may be that the band are just at the end of their contract, if no-one is being kept, and no one has been offered to stay on at the lower rate if that is the case, then that looks bad as well. If the producer can't even give first refusal of the job to the people that already have it, that is disgusting. Remove the reason for paying the new band less, for better or worse it happening, but it shows such a lack of respect to not even offer and say 'I know the new contract would be for less money, but it is up to you if you would like to stay on, sorry we are not going to be able to pay you as much as previously but the contract is up for renewal'. It really isn't hard to give respect to your employees. Obviously we don't know all the private goings on, but surely people wouldn't be upset if their producer and employer was honest with them first?
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Post by JJShaw on Jan 26, 2023 20:51:11 GMT
It's a pity the Donmar just can't seem to get a really good, commercial hit. Transfers aren't the be all and end all but they do generate a buzz as we saw with the Streetcar announcement earlier in the week. Can't remember the last time a show from the Donmar went on to a further life. I'll always remember their City of Angels which did transfer but sadly did not come back after 2020. I've heard it didn't have a healthy advance (it had only been open just shy of two weeks) but apparently that is one of the reasons they haven't brought it back...
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Post by JJShaw on Jan 19, 2023 19:56:39 GMT
Managed to refresh the page enough times to grab a day seat for this, very glad I did. I haven't seen the film, but it is just a very small, gentle, plot following two sisters. I'm not normally a 'slice of life' plot fan but because of the scope of the show i was absolutely fine with it. I will put under a spoiler just in case it transfers? I think it should it was very very good. {Spoiler - click to view} From the moment the show started and the title started to dance I knew I was going to like the physical production, and I was correct! I loved how practical everything was, with only two instances of projections. The flats were great and I just loved the big scale of the show, I imagine it felt similar to people seeing the first 80's mega-musicals after being 'starved' of not seeing a grand scale on stage, it felt amazing to not see something striped back and to see it so big. And everything was so inventive, the maze corn being attached the way the were so when pushed aside the bounced back like they would naturally, painting rain on the umbrellas so it looked wet, I just loved it all.
I thought the score and singer were gorgeous and really hope they do record that at least!
Yes it did meander a little, but overall I had a wonderful, wonderful time!
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Post by JJShaw on Dec 8, 2022 23:16:38 GMT
Thoroughly enjoyed this today, a very fun production and a great alternative christmas show choice! I have to applaud the costume and set design, they are really fun and different, and some of the set pieces are so incredibly detailed (on some canisters in the make over chars they said OZ2 like CO2). Reminded me of how fun the music from the movie is, its bright, fun, and very positive. I would have loved some more peaks and valleys from Dorothy, it all sort of stayed a little too perky the whole time? But she had a great warmth to her and I wanted to like her a lot, Glinda was lovely albeit underused with no arc, but her costume and moped are gorgeous, lion scarecrow and tinman all worked as a lovely trio, and toto was so fun and the puppeteer did such a wonderful job and he himself didnt make himself known so kudos to that. Wizaerd was lovely too. The amount of big set pieces that would fly in and out was amazing, nice to see your money on stage for once, and im not normally a fan of led screens and projections but because they could be layered with the set pieces it gave it such depth, and lots of the direction felt very cinematic. it flowed nicely, some silhouette work, it was really nice. Loved how the did the yellow brick road and the crow puppets. I wish the show would breathe a little, it's not a long show and zips by so quickly that everything just sort of 'happens' i never felt settled. this was mostly evident with the wicked witch who seemed a little uncomfortable, unsure, and didnt really take full ownership of the role. her scenes felt rushed the most, i never felt any menace. there were loads of school groups in and not one child shrieked in fear. The ending is a little muddled re: {Spoiler - click to view} what constitutes home? and Dorothy didnt really apologise to her aunt and uncle or say she loved them, just that she was happy with herself? Perhaps once in the palladium they will let up a bit, i hope the set doesnt get drowned out, but i still had a lovely time! If youre close by go check it out, or wait until it comes to london. the orchestrations in particular are so fun, funky and fabulous, and a fun modern take on the visuals make it a fresh evening out!
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Post by JJShaw on Dec 3, 2022 23:39:21 GMT
Just FYI if you arrive late they are not admitting latecomers, or anyone who leaves the auditorium once the show has started!
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Post by JJShaw on Nov 28, 2022 23:50:43 GMT
vickyg how funny I was also there tonight, front row! Katie really does let those tears flow as you say. It really is as good as everyone says, wonderful performances, Katie would be a shoe in for awards, great score; while it does of course have gospel influences it really felt like a fresh-yet-classic musical score (the trio in act two with some of the supporting characters, when was the last time we had a trio number?!) Loved the set, wish that we could have maybe delved more into what Tammy and Jim did and maybe a smidge less of the political stuff, but I guess it is all important and paints a well rounded picture of the state the world was in, but I was just hungry for more Jim and Tammy in an already long show. The bows are just ever so slightly off that makes them feel really weird, but other than that, great show and London is lucky to have a new musical premiere like this one.
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Post by JJShaw on Nov 20, 2022 12:39:53 GMT
I love the visual design; fresh, new and clearly cohesive and thought out! Looks really fun!
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Post by JJShaw on Nov 4, 2022 22:26:48 GMT
Caught the show tonight, and sometimes word of mouth and online gushing is absolutely correct.
I was a little skeptical that it was going to be a little too sentimental for my liking, but I was cackling through the first half of the show, there are some fantastically funny lines written, and while it does touch on the more emotional side as it continues, it wasn't too much for me and was very enjoyable.
What I find most interesting, and hopefully they will get the chance, is that Rob possesses something rarely seen recently on the stage, and that is just raw, natural, charisma and likeability. If the camera loved them as a kid, the stage loves them now and with the right vehicles, they could (and should) be one of London's newest "name" actors. While we don't churn them out like Broadway does, and even then I don't quite know who will is in their new crop recently, but Rob had the audience eating out of the palm of their hand. True, that could be a very loyal and supportive audience already familiar with one of the many viral videos, but there was a spark in their eye and just a natural presence that drew you to them the whole time.
If you can catch one of the final four shows this weekend, I really suggest you try to do so. Whether this show has another revival I don't know, I could see his working relationship with Paul Taylor Mills mean that this could be a filler during the turbine or TOP if they want a 1-2 week gap filled and Rob is available, but it's roaringly funny and sweet, and above all is a chance to watch a one-person show with someone who can fully command your attention in a way that I think is becoming rarer these days.
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Post by JJShaw on Oct 24, 2022 12:28:00 GMT
Enjoyed the Lyric Hammersmith production that then transferred to the Garrick, it's a great show so i'll always pop and see it when its in london!
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Post by JJShaw on Oct 17, 2022 16:18:22 GMT
Saw it advertised on twitter, looks really nice and i liked their previous big theatre exhibition they did a couple years ago.
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Post by JJShaw on Oct 11, 2022 13:41:54 GMT
Beside myself at this news. Saw it on Broadway years ago with the late great Marin Mazzie and her husband Jason Daniely. They were amazing. We’ve got a few couples here that could do it, the most obvious being Rosalie and Hadley, but also maybe Caroline Sheen and Michael Jibson or Celinde Schoenmaker and Richard Fleeshman. Ooh Rosalie and Hadley, always a luxury casting with either one of them, let alone both! (Monthly plea to please bring back city of angels, even if its a concert one night staging that is recorded like the used to do in the US quite often!!)
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Post by JJShaw on Aug 23, 2022 21:31:36 GMT
A very exciting casting! Wonder if it has eyes on going somewhere post Almeida if it does well?
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Post by JJShaw on Aug 14, 2022 11:13:36 GMT
Caught the show last night, glad I did, I went knowing I really really enjoyed Urinetown, but to be prepared for a different sort of show based on the not so kind reviews. I will admit the first couple of numbers really made me wary and very VERY avant-garde fringe off-off-broadway experimental Edinburgh fringe (and the costumes didnt help but surprisingly grew on me throughout the night). However once the over the top operatic dramatics had finished and the show settles into its more hummable, character-driven solos and pop-rock numbers it picked up steam and I really enjoyed it. (apologies for not grabbing a cast list or programme, also very sad they dont seem to be printing tickets anymore ) Jan the Unnamed was wonderful, and if you catch her when shes just observing she does some really funny little bits, has a cracking voice, and a wonderful stage presence. Jan the Sly and Jan the Wise had fantastic chemistry and were really engaging, Sly reminds me of a future Charlie Russell, big compliment! Loved her number with Famished, and there were some lovely lighting design choices throughout as well. I do agree the grey sheet could have had perhaps a few projections just to round out the set, I really liked them moving platforms but did get a bit worried as there are no safety stoppers on the wheels!! Once the concept and plot kicks in, it is a fairly basic plot of romance + vengeance to overthrow, some really creative directing choices, but the weak opening and unusual premise and costumes that could have been less conceptual, I'd give it 3*, possibly 3.5* because some of the performances really did sell me on the show, and there are some great songs in it. A post curtain call speech noting that they are one of just two completely original musicals playing in london right now not based on anything at all (is the other one DEH? Can't think of what the other one might be? If thats the case then yikes....!) and it was quite sweet for them to try and rally some good word of mouth, it was a very receptive and enthusiastic audience to do that for as well, they were loving it! Couple next to me left at the interval but I do think the majority stayed for act 2. If you have a free slot, go give it a chance, did run a little longer than advertised and I think we started a little late too, but it felt new and different and certainly will round out the variety of shows you can see, so love it or loathe it it will put other shows into perspective!
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Post by JJShaw on Aug 4, 2022 21:52:13 GMT
Any offers for this one? I would like to catch it while its on
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Post by JJShaw on Aug 4, 2022 21:48:16 GMT
Having gone in with not-so-great expectations I found myself thinking this is a solid 3 star production.
To me, it felt very much like an "out of town tryout" to the scale you used to see in America when they'd try Boston, San Diego Globe etc. with a full production knowing things would change later. In that instance I thought the direction was great, the score was between nice and good songs, some ideas worked and some did not.
I loved the puppetry in the teaser photos and I thought they were great in person too, did think Pongo (? The male dog) had been cast quite young compared to Purdy, and from recollection Cruella only had one scene with Dom and Danielle which if any bookwriter had a pass over would pick up as very odd and just gave Cruella such a disconnect.
Similar to Charlie... Chocolate Factory: there isnt actually much plot (watched the movies in 2020 lockdown and they're so short and just have loads of filler) so there are some moments that are clearly there to just... pad it out a smidge.
Loved end of act one, a couple other songs I thought were really well done, tight, smart, funny, purposeful. Opener of act two was great but why were they all sneezing?
Someone at RPOAT must have a pup kink, between the dogs in Legally Blonde and the black dogs in act two with what i can only describe as pup play fetish wear... no judgement!!
clearly a big family pleaser based on the title, a near sold out matinee, but its the summer holidays and its something to do, and to be fair to them it was a very nice show. Again solid 3*. Would be more than happy for it to be refined, I'd say about 60% worked and that 40% is between minor tweaks and total revamp.
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Post by JJShaw on Jul 24, 2022 20:24:05 GMT
Interesting your programme says 2 hours but you stated it was 2 hr 40 mins, thats an awful lot of tightening up....?!
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Post by JJShaw on Jul 24, 2022 20:18:47 GMT
The rush tickets with TineOut have ended now, do we think there will be another way to get relatively cheap tickets for the run? It's going until December (?)
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Post by JJShaw on Jul 17, 2022 14:16:00 GMT
I'm surprised it isn't selling well considering surely the capacity has been chopped significatly with all the unconventional seating?
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Post by JJShaw on Jul 15, 2022 20:19:42 GMT
The WOS review sounds very fair and balanced, I haven't seen the show and the set tour put me right off, but it seems to have some fans.
To me, and I am on the tail end of the millennial generation, the marketing online has been doing a detriment to itself; for the past two years since it's been workshopped the ONLY thing I have seen about it is an avocado emoji... that's it. That article and joke were tired and embarrassing when it came out years ago and it now reads incredibly dated and not something strong enough to hinge your entire brand on. I get that its trying to take a negative and "stick it to the man" but it just reads and immature and petty, something my generation is frequently accused of so... i guess strong branding?!
I also find it odd and uninspired to just name the show Millennials, you are automatically not going to reach any older generations who might take something from the show (or at the very least buy a ticket for a song cycle) and the visuals for it look more like its pandering to gen Z. The bulk of millennials are 30 now, who is this show for? The novelty of sitting in a ball pit would only work if those tickets were £5 for me. please give me a nice chair, ok just a chair with a backrest.
I am glad that people online are enjoying it, and some are already repeat viewers, so its always good when a show has supporters, but unfortunately nothing is really tempting me to go and try it out.
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Post by JJShaw on Jun 24, 2022 8:19:50 GMT
Saw this week, really enjoyed it and they are right in saying you don't have to have seen "part 1" to understand it. A great show keeping my attention despite not much of a progressing plot but rather something you need to sit with and think about (if that makes sense).
A little late to start but it was roughly 90-95 mins, I would have liked to have stayed for the post show talk but it was a strike day so I thought I better get home!
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Post by JJShaw on Jun 24, 2022 8:17:21 GMT
Well I certainly didn't see them filming in the US! Usually US productions come over here to be filmed!
Absolutely thrilled we will get a capture of the original cast, it is so deserved. If any original cast needs to be preserved it's this one.
I'm assuming their recent stint was to dust off any cobwebs and warm up for the filming then, I hope the US audience are receptive like the British audiences for this show. How exciting!
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Post by JJShaw on Jun 13, 2022 21:35:23 GMT
I loved Six and the costumes but how can it win best costume against Fly Davis, Caroline, or Change Toni-Leslie James, Paradise Square William Ivey Long, Diana, The Musical Santo Loquasto, The Music Man Gabriella Slade, Six: The Musical – WINNER! Paul Tazewell, MJ? I remember reading that there are lots of details such as Jane's bodice resembling Tudor housing, BOlyn and Howard having initial necklaces since they were beheaded, Parr wearing trousers as the most "modern" one, stuff like that. Perhaps they had a great detailed Tonys package. I can sort of see why they won as they are really fun and individually designed. TMM are really nice but nothing new or revolutionary, and Diana's were mostly recreations right? Can't comment much on the other ones but just some musings.
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Post by JJShaw on Jun 12, 2022 21:06:52 GMT
Good lord that speech and letter were cringy and awkward to watch, can't imagine what it was like in person. No warmth or likeability coming from him he looked uncomfortable on a stage, which is fair if you're a director not an actor but come on now this was just painful, nevermind the words he was saying, both from himself and the letter, were just so bad.
I will say my agreement re: Rodney's behavior, self-indulgent, making yourself a victim more than necessary, and obnoxious riffs outside of a concert are the worst thing anyone can do and says an awful lot about you as a person i feel.
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Post by JJShaw on Jun 10, 2022 7:46:31 GMT
"And you might want to sit down, gotta dye my hair a mousy brown" sounds like a cheap lyric that should only be a placeholder until the second rewrite comes in, its clunky. The original line is so good, why would you need to change this? Do they not think British people know the word brunette?
My only other thought is, since they took out the line about Elle "denying her highlights" is it to get around that Elle already dyes her hair blonde, so "going brunette" wouldn't be enough of a change (if that was already her natural hair colour) so to emphasise how for her being brunette is downplaying her hotness they added mousy? I'm sure I'm overthinking!
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Post by JJShaw on Jun 9, 2022 19:40:43 GMT
Wow amazing deal thank you so much!!
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Post by JJShaw on Jun 9, 2022 17:20:39 GMT
Has anyone seen any offers for this for Richmond? It's there at the end of the month.
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Post by JJShaw on Jun 7, 2022 17:55:58 GMT
I'm simultaneously surprised and not surprised it is closing on Broadway, it seemed to have a much stronger footing over there. There was a very interesting article about it closing early in Toronto, about how it kicked out Come From Away which had been doing stellar (I assume it was a contract thing), died a death after 6 months and CFA came back.
People always say a movie kills the stage production but is this the first time we're actually seeing that? Chicago, Les Mis, Phantom etc their movies didn't impede the closing, Mamma Mia ran for a while on Broadway post movie before closing, can anyone this of a time where the movie did kill the stage show?
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Post by JJShaw on Jun 7, 2022 8:47:10 GMT
It was probably a lot easier to get six peoples schedules to line up than the size of the heathers cast (whatever that may be hehe). I suppose they could have tried for the three heathers, veronica, JD and Martha, thats six? But I would assume the reasoning was schedules?
Bernadette Peters returned to Sunday in the Park to film that but... who else is Bernadette?!
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Post by JJShaw on Jun 6, 2022 22:24:14 GMT
I am sad we don't get to see Christina Modestou, studio cast Boleyn. I saw one of those Monday night shows at the arts with the studio cast and I distinctly remember thinking after her number "if this gets a cast recording this is the number that will be the big hit". She was fantastic and her wit really comes through in a way I assume they don't direct the Boleyns to have anymore, instead favoring the modern insta-tiktok girl vibe which is... fine I guess.
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