3,065 posts
Member is Online
|
Post by Dr Tom on Feb 2, 2024 14:54:08 GMT
Aston Merrygold is back as the Tin Man for a few venues. Those being Bristol, Manchester, Birmingham and Cardiff. Marley is taking on the lead role in Grease (well done, Marley).
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Feb 2, 2024 10:12:04 GMT
Attending tonight. Reading all the comments, I'm not sure if I should be excited or terrified!
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Feb 1, 2024 11:27:33 GMT
I was also there last night, which was some type of press or media night. Rush gave me second row Stalls (although at the extreme side), so I couldn't turn that down. You do lose the edge of the stage, but otherwise the view is clear.
I completely failed at the celebrity spotting, but I also didn't wander around. I was told that David Seaman was in attendance.
This is a much more engaging show from the front. The sound quality was also better. From the front, I could tell this was much more the tour production than the Palladium version, with two of the children played by adults. They do seem to play all of this with very broad mannerisms, but perhaps that's due to the size of the venue.
Cezarah Bonner as Lady Thiang is definitely the highlight.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 30, 2024 10:35:43 GMT
From what I've seen online Ivano hasn't been on as Jamie for weeks. I hope he's okay I hope so too. Ivano did do the Big Night of Musicals show, so he's around. But a shame for him if he missed the delights of digs in Wolverhampton.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 29, 2024 22:56:44 GMT
They basically want people with a big TikTok following who will continually promote the show. There are plenty of established musical theatre actors with followings, so there's no reason why they will have to go with unknown people.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 28, 2024 22:27:52 GMT
I did get to see the Gin Martini Company as well Max James Hodge was totally charming as Man in Chair. I can't pick one cast out as being better than the other, that just isn't fair. As with so many shows, I enjoyed this more on the second viewing. It helps to know the music and what to expect.
Otherwise, not much to add to my previous comments, other than I feel that almost everyone in this class is ready for a place in a West End ensemble. Unfortunately, there's no enough work about for all of them. The show I was at, incidentally, had several of last year's graduates in the audience. I don't think anyone has picked up on Joe Simmons yet, so I'll just note him as my pick to watch out for in the future. I'm sure an agent has already signed him up.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 28, 2024 9:41:46 GMT
Where did the choreo for The One come from? It wasn’t anything like I remember from seeing ACL at The Curve. A one-off for this performance, I imagine, so they had something that looked good on TV. I doubt many of those dancers will be on the tour.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 28, 2024 0:36:58 GMT
That was quite enjoyable. They did a great job with the sound, regardless of whether it was live or not.
It's always odd when they're reworked songs for the show from how they're currently performed. The reworked Jamie with the line changes, cuts, and new dance routine, just looked bizarre. Then there are the random casts pulled together. Much as I love seeing Mukeni, Mark and Jordan back on stage together, I just can't imagine them all in featured roles in A Chorus Line. Nice to see (most of) the London Grease cast back together, although I'd be surprised if that's the tour cast.
I did feel for the poor usher who had barely recovered for finding out he wasn't winning a holiday but his name would be on a chair so he'd never get a peaceful shift at work again, before he then had to deal with being surprised by Craig Revel Horwood as well.
Don't think I'd ever want to see the Night of Musicals in person (imagine being at the back in such a big arena), but as a TV programme it comes across well.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 25, 2024 16:22:47 GMT
To do The Secret Garden and not do the Lucy Simon version is a big disappointment. I guess we wont get that version anytime soon now. Agreed, but I think this is a play rather than a musical (unless I’m reading everything wrong)?
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 24, 2024 19:39:06 GMT
This certainly isn't the hot seller it once was. Outside of Friday and Saturday, there are a lot of deals if you're willing to hold out for the dynamic pricing to bring the costs down.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 24, 2024 13:40:30 GMT
The Drowsy Chaperone - Arts Ed
I was also there for the performance yesterday. You can't fault this. Excellent performances all around, great singing, big dance numbers.
They had the stage set to open up its full depth, which really worked for the bigger production numbers.
Alex Gavin is on the stage almost the entire show and really holds everything together. Harrison Langham stood out to me too with his excellent tap dancing. He would make a perfect Mormon.
Now, I'd never seen the show before. Having seen it, I can tell why it was not a hit when first staged in London. The audience at Arts Ed is always going to be more forgiving, especially with all the musical theatre references. I also notice the show has changed a bit from the description on Wikipedia, but perhaps it's one of those shows with multiple versions floating around.
What Arts Ed always do well is they structure their shows so that everyone gets their featured moments. Even the ensemble get the chance to dance at the front of the stage. There are a couple of people who they've put in very similar roles across the two productions I've seen them in, which I don't think best suit their style, but I do appreciate how difficult it is to find the right production that has a perfect role for everyone.
This could easily transfer to a fringe theatre (although some roles would be better cast with someone older). It won't, purely because you can't have this level of production and this size of cast, and run this in a profitable way. I'm also not sure that this show will draw in an audience. So this production of the Drowsy Chaperone is as good a production as I'd expect to see in the UK anytime soon.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 21, 2024 11:40:59 GMT
I think it’s the ship from the first tour (pre-Covid), but not the Palladium one, but please no one take that as fact. I was a long way back, but the ship was much more impressive from there than the second tour version.
The large statues etc are back too (not cardboard). It isn’t the full Palladium version though, which you see with things like Shall We Dance, where there just isn’t as much space on the stage.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 20, 2024 20:57:15 GMT
I managed to get a rush ticket to the sold out matinee today. Stalls Row Y, which is a lot further back than I'd usually like, but the view was clear enough (and I know this production well anyway). The seats are very badly offset in that row, being lined up with the row in front, so I could tell that was causing other people problems.
Good news for everyone. They've restored most of the missing set, so this is much more like the Palladium production than the tour. I think there's a bigger ensemble again too, and not as many adults pretending to be children, although I was far enough back that I couldn't tell for sure.
The orchestra sounded wonderful. The vocals sound levels were too quiet in comparison, especially for Dean John-Wilson. I was impressed by how clear everyone's diction was. My first time seeing Helen George, and she is good, but there have been some very strong leads in this production, so comparisons are difficult.
Started slightly late as there were massive queues to get in. Finished about 5:30pm. I'll certainly be back while the full production is in London.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 20, 2024 16:09:33 GMT
This all varies completely depending on the show and the day. I always assumed it was the box office who added more seats (if it made sense that day).
10.30am is a good time for a second check for some shows, but it varies a lot. The times though can be quite random looking (i.e. sold out at 10.16, but more at 10.17).
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 18, 2024 20:29:17 GMT
I saw this earlier in the week, Rush ticket right at 10am and was in Row F of the Dress Circle. I have tried before and not been successful, so this does seem to be selling well. A very clear view and everything was audible. I do prefer nearer the front, but this is fine.
I thought this was an excellent play. We did have a show stop about half an hour in, which delayed things, and there were definitely people eyeing the exit (and checking watches) near the end. Not much to add to the previous reviews, but I can certainly see this making a return in the future.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 16, 2024 14:33:56 GMT
Looked for tonight, it's easily half empty. I’m probably missing something, but isn’t the first performance on Saturday?
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 15, 2024 20:57:49 GMT
Neil Diamond is a hometown boy, isn't he. I can see him being wheeled out for the promo ...what price a stage appearance? Sadly, I don’t believe he’s able to make public appearances any more.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 15, 2024 15:38:53 GMT
As someone who has never seen a student production before, what should my expectations be in terms of the quality of the overall pieces? Mountview, Arts Ed and GSA will all be high quality. CSSD, I don't know so well, but I've also booked for Merrily so I'm keen to find out. GSA I find a bit tricky to get to, but they're doing The Hunchback of Notre Dame, which I've never seen.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 15, 2024 13:10:02 GMT
Well, I got the Thursday and Friday matinees, so (work permitting) will hopefully get to see both casts. Very few seats left now and most shows sold out, so anyone who is at all tempted by Rent may want to get onto the Arts Ed website now.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 15, 2024 13:02:38 GMT
Rent (Arts Ed) is on sale now, but I'm stuck in the ticket queue. Hopefully it doesn't sell out before I get to the front of the line.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 15, 2024 12:21:37 GMT
There's no shortage of talented dancers in the UK, and nowhere near enough work for most of them. I really don't think that was ever an issue.
Personally, I would see them staging this in a traditional theatre, with a set that is ready to tour. There are some parts of the Wembley production that just wouldn't be easy to tour, but the essence of all this can be captured.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 13, 2024 18:37:37 GMT
I was there on the front row for the final matinee today. A few empty seats around me, but not sure if this was because people had asked to move or if they’d taken the seats off sale. I still think this is an excellent view.
The cast were having a lot of fun. I think there were a few muckup changes but I can’t remember this well enough to say for sure. Even some interaction with me. A polite audience too.
I hope the current cast all get to go to Broadway. It may be a difficult sell over there and I suspect jokes about Dudley will go over the heads of many, but football does have a worldwide following. Let’s not forget this replaced a big money Broadway jukebox musical transfer, has sold very well, and is in one of London’s largest theatres. I’m sure there will be another London run in the future.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 13, 2024 18:30:55 GMT
Sorry, I think it was a 9:50pm finish. From memory, the information outside said 45 minute first half, 40 minute second half, but I think this ran slightly longer. Or maybe it took more time to get seated than I wrote.
It could easily be presented without an interval.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 13, 2024 12:26:37 GMT
Let me add the first set of comments on the London production.
I got a Rush ticket yesterday (second preview), row K of the Stalls, a good clear view of both the stage and the people dancing in their seats, taking video, shouting random objections at the on-stage activity etc. This is more jukebox musical crowd that Heathers crowd.
This was sold out, and I arrived at 7:25pm to join a packed front of house area. They started letting people in around 7:40pm and the show started around 7:50pm. Finished around 9:10pm (with an interval).
There's a lot to this show thematically that matches Heathers. Partial nudity, themes of sexuality, a setting before most of the audience were born, tragedy, alumni in the cast etc. There's even a diary/journal (and you can scramble around to complete your collection of souvenir promotional pages at the end). If you ever thought that Heathers set took up too much of the stage, this is solved here, as everything is minimalistic, allowing the revolve to be used. The style does suit the production. You can see the band at the side of the upper level (smaller than Heathers, I think).
Where this doesn't match is Heathers is that show has its witty moments and aspects of black comedy. Here, the laughs come when the audience recognise a song that has been slotted into a rather odd position in the show.
I have no recollection of ever having seen the film, so I got rather confused by the cast and hadn't realised they were all playing teenagers until near the end. There was one point where I assumed there was a mature music teacher taking advantage of an underage girl, when the music teacher casually announced he was 19. I also struggled a bit about when this was meant to be set. This was an age where some people were apparently just getting used to AOL, but others were on email all the time, and mobile phones were much more portable than I remember. Dramatic licence, perhaps?
I was a teenager in the 1990s, but I can't say I took to a lot of the music. I did expect to recognise more than half of it. That's probably my failing though, as I say the same thing about other jukebox musicals.
The highlight is easily Rhianne-Louise McCaulsky. She has a powerful voice and it's a joy to listen to her sing. Josh Barnett lights up the stage and looks fabulous with his new blond hair as well.
Otherwise, I would be quite keen to see this again now I've figured out what's going on, but I didn't feel an emotional connection with any of the characters. Everything is serviceable, but the limitations are with the material. Hopefully the sound team will have had a bit more chance to practice the microphone cues as well.
I'd go with 3 stars. This has a chance of getting an audience and becoming another long-runner, but my bet would be slightly against that happening.
I did feel a bit sorry for the crew member who was poised at the front with a camera at the end ready to capture the instant standing ovation for the publicity videos. He had to stick with filming the stage instead.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 12, 2024 8:46:00 GMT
Good to see they’re finally advertising Marley Fenton as the Tin Man. I guess he isn’t fully ready yet as his previous show only closed last Saturday.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 11, 2024 14:08:05 GMT
What sort of offers do you get through DMT+? Would you say it's worth the membership fee? Earlier this year, I went to the DMT+ performance of Mamma Mia (Thursday matinee). Free sparkling wine before the show (they weren't stingy), plus a programme, and two interval drinks vouchers. A very interesting Q&A with the musical director and some of the technical team (held in the Dress Circle). We saw the start of the cast vocal warmup as well. Plus a second row Stalls seat for the show. I can't remember exactly what I paid, but it was around £50, less than a ticket alone in that location usually costs. They also found people a room to wait in between the end of the Q&A and the start of the show (if they didn't want to go out into the rain). So, I thought that was a good deal, the organisers made an effort (and thankfully I could get that afternoon off work). Now, I've just checked the DMT+ members area and I can't see any special events advertised at the moment, but they come and go. If you buy programmes and drinks at the venues, the vouchers that come with the membership cover most of the cost by themselves.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 10, 2024 17:27:28 GMT
I almost always use them on online on TKTS, or on the DM site (which sometimes throws up good deals with dynamic pricing, as well as the members only offers if you're part of DM+ - you may well be able to pay for DM+ membership with theatre tokens as well).
If you really want to sell them, CardYard pay 80% of face value, which is likely better than eBay (after eBay fees, and without the risks of selling tokens there).
You may well be able to sell them in Classifieds as well (this doesn't directly mention Theatre Tokens, but this seems reasonable enough to me).
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 9, 2024 21:54:52 GMT
I want to take my daughter to this with the cheap standing tickets but she isn't 12 until April, does anyone know if they are likely to quibble the age restriction or let it go as she's mature and only a few months off. They will probably trust you if say she's 12. How tall is she though? The raised areas where the action takes place go quite high, and I presume she'll need to stand at the front, rather than being blocked by standing behind other people.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 7, 2024 14:01:53 GMT
Glad that everyone enjoyed the final performance. I couldn't make that one, but I did make both Friday evening and the Saturday matinee, and both were phenomenal.
I was a bit skeptical at the start about how well this would find an audience, but this ended up being occasion theatre, and I know people were paying a lot of money for their tickets (the person next to me on Friday said as much, I answered diplomatically, of course). I was on Rush both performances, but it took me to the second release on Saturday to get a ticket. Dress Circle Row C both times, excellent view both times (in fact, I was in seats next to each other), the leg room is good there, the audiences better behaved than most theatres, plus always fun to see several actors in prime seats (although the only one I could immediately name was Giles Terera).
There were changes on the Saturday matinee, but I was hoping someone else would point them out as I just don't know the production quite well enough. Various different costumes. Endless enthusiasm. Now, I know that Bernadette Peters might not sound exactly the same as she did in her prime, but she was having a lot of fun. I felt she was singing Send In The Clowns looking right at me, and I really felt the emotion. I did expect some mid-show standing ovations, but no one wanted to start them. Thankfully, people stayed standing at the end, so we didn't have to sit down and stand up again four times like on Friday (which I don't mind in the Stalls, but I never feel as steady in the higher tiers).
This is a cast who all gel perfectly together. I'll also reiterate what I've said before, which is Marley Fenton is going to be a future star. Glad to see the hints that this may return, I can see it easily slotting into a free theatre for a future season.
|
|
3,065 posts
Member is Online
|
Post by Dr Tom on Jan 4, 2024 22:10:33 GMT
Why on earth is this closing on a Thursday night?! I think they decided it was the 1,000th show. It's a shame this is closing, although it did go through periods when it wasn't selling very well. I couldn't make either performance today, although I may well have been several times in the past week. I can now say that the actor I've seen the most times in the same role anywhere is Karl James Wilson (as Nick Massi). I did see two of Joey Cornish's final three Frankie shows - and he was tearful at the end both days, so I don't know how he will have been at the matinee today. He is delightful to watch and will go places. And the current (final) Four Seasons, led by Luke Suri, are as good a combination as there's been at the Piccadilly Theatre. I do have to mention how well Pearce Barron's smile in the background always lights up the stage when he swings on. And apologies to putting Declan off his closing speech recently when I tripped up a man who was desperately trying to leave the row I was in at the same time. Actually, there are lots of stories I could tell about this show, but that's no surprise as it looks like I did go to over 5% of the performances. This is probably at the bows about now, so hopefully anyone in attendance can report back. I'm sure Jersey Boys will be back out on tour soon!
|
|