571 posts
|
Post by westendwendy on Apr 17, 2017 3:02:00 GMT
Saw this tonight on Broadway - a super sweet as pie musical - I had heard lots of great things about this show so my expectations were high. I wanted it to be amazing and instead it was good, very American full of folky tunes and well... a bit silly. I had real issues with the story really; a show basically about everyone having an affair and ultimately the plot doesn't resolve. First rule of theatre, have a clear beginning middle and end. Some amazing singing, great creative moments and over the top comedy, but the momentum was lost and although I enjoyed it, a rewrite might make it better especially Act 2 I left the theatre having enjoyed it but felt rather ambivalent towards it. Legally Blond meets Grease. 7/10 Not sure it will work in London!
|
|
571 posts
|
Anastasia
Apr 17, 2017 0:30:13 GMT
via mobile
Post by westendwendy on Apr 17, 2017 0:30:13 GMT
I'm sure there are PR trolls on this site. Or just people who - shock horror - have different opinions and talk to different people than you do. They do exist, you know. Of course people are allowed and do have different opinions, that's what we all cherish on here! As for being historically or culturally inaccurate - I'm sure that's not what any director wants. Oh and I know it's not a Disney show, it was a reference to the standard in production that Anastasia fails to reach.
|
|
571 posts
|
Post by westendwendy on Apr 16, 2017 18:33:24 GMT
I don't think this is or will be groundbreaking theatre. But from what I've seen, it looks pretty. If we were to examine it critically, yes it's probably banal, but I've managed my own expectations. As long as Once Upon a December and Journey to the Past are fabulously done, I'm happy. From the clips I've seen, they look really nice. I'm seeing it late May. Journey to the Past is the end of act one. LED screens of bright pink cherry blossom fill the space and she stands mid stage, doesn't move and belts it out brilliantly. Finishes with sunset and zoom into Paris. She performs the song well - the crowd loved it, I just wish she had moved and worked the stage more.
|
|
571 posts
|
Post by westendwendy on Apr 16, 2017 14:45:51 GMT
Aging does not equal incapable! My point being that their high level of experience is used to compensate for the piece's shortcomings. It's good producing and not always about age (see Sheridan Smith helping to paper over the weaknesses of Funny Girl from the same year as Dolly). With Chita Rivera no - with Bette Midler yes
|
|
571 posts
|
Anastasia
Apr 16, 2017 14:36:16 GMT
via mobile
Post by westendwendy on Apr 16, 2017 14:36:16 GMT
saw this tonight on Broadway. Sad so say it's such a missed opportunity, historically and culturally inaccurate, miss cast, bad set, faux american, terrible lyrics, cheesy, naff - a big fat flop. Even the nice singing couldn't save it for me. The turkey of the trip. A disappointing 5/10 I saw it a couple nights ago and I had the opposite reaction haha. Thought it was magical! It's getting a very good word of mouth. I'm sure there are PR trolls on this site. (Especially noting the time difference that I write my posts and see the replies) It looks like a regional production! Caroline O'Conner who I love is horribly miscast in this - it's not meant to be Mack and Mabel. Ramin too who I adore is meant to be a menacing Russian officer and plays the role like an angry Chris in Miss Siagon. It has obviously been written by Americans who do not know russian mindset, culture or social behaviour. At one point Anya asked "why do they call you Dima?" Every Russian in the world knows that Dima is short for Dmitry. Anya also complains about a man smoking in the train carriage. I laughed out loud - this is meant to be 1918 or whatever year. The word of mouth having been in piano bars and met several friends in the industry including two producers I know here is actually mostly negative. Although the new music is good it's still a naff, boring and cheap looking production. It won't win any awards. Average Joe might like it but the solid fact is that it is not in the same league and standard as other Disney shows sadly. Such a shame.
|
|
571 posts
|
Post by westendwendy on Apr 16, 2017 14:30:49 GMT
Come From Away and Dear Evan Hanson will win everything...
|
|
571 posts
|
Post by westendwendy on Apr 16, 2017 14:29:21 GMT
Your comments are slightly ageist. This aging star is somewhat of a superstar, and is doing wonders in the role according to just about everyone who has seen it. It's not the deepest, most meaningful or most sophisticated show. But it's a great piece of entertainment and one of the most beloved classical musical comedies. They aren't ageist. I saw the show two days ago. She's fabulous but too old for the role. Her voice isn't what it was and she wings it. The night after I visited the show she had a coughing fit on stage and had to stop the show. Gavin Creel came on stage with water and throat sweets (she pretended to choke and fell on the floor). Talking about the correct casting ages any ageist. It's casting, type and suitability and in this case - can the talent deliver the goods night after night.
|
|
571 posts
|
Post by westendwendy on Apr 16, 2017 13:19:56 GMT
The understudy should have been learning the role day one of rehearsals - even if not blocked himself It's not as easy as that. Learning lines and the role itself is one thing, but most understudies are not rehearsed on the stage, or have a put in rehearsal until after the opening night simply because rehearsals for the main cast take priority as they are the ones who 9 times out of 10 are the ones that are on (or at least that is how most cast members are expected to think). Having been an understudy in two major musicals I can tell you that the second you get cast you have a note book and are staring at the rehearsals and making frantic notes and learning your part from day one. Even if you aren't blocked yourself at the back of your mind you think "what will happen if xxxx is off sick during previews? I've known the role in my head (imagining set, costume changes, prop lists, wing entrances/exits, sight lines, directing notes, staging and any tech notes) without even being rehearsed as the understudy. I'd have a book full by the end of week one/two. Sure it's nervous to be thrown on but you kinda expect it. Plus for many understudies it's not the first time to cover a role.
|
|
571 posts
|
Post by westendwendy on Apr 16, 2017 3:01:00 GMT
I feel sorry for the understudy. That's a hell of a role to have to tackle at very short notice, especially as the understudy rehearsals have probably not even started yet, assuming that Broadway is like the West End in not doing understudy rehearsals till after opening. The understudy should have been learning the role day one of rehearsals - even if not blocked himself
|
|
571 posts
|
War Paint
Apr 16, 2017 2:57:31 GMT
via mobile
Post by westendwendy on Apr 16, 2017 2:57:31 GMT
Well I saw this this afternoon and LOVED IT! God I laughed with all hose bitchy one liners!
|
|
571 posts
|
Post by westendwendy on Apr 16, 2017 2:54:58 GMT
saw this tonight on Broadway. Sad so say it's such a missed opportunity, historically and culturally inaccurate, miss cast, bad set, faux american, terrible lyrics, cheesy, naff - a big fat flop. Even the nice singing couldn't save it for me. The turkey of the trip. A disappointing 5/10
|
|
571 posts
|
Post by westendwendy on Apr 15, 2017 13:33:50 GMT
I wish Flowers For Mrs Harris would have a limited run on the West End so more people could see it. it was just so beautiful.....
|
|
571 posts
|
Post by westendwendy on Apr 15, 2017 13:27:40 GMT
It was thoroughly deserved. I also thought Show Boat deserved Best Revival. Rebecca was stunning and her rendition of 'Bill' was sensational. I totally agree. Her performance was out of this world!
|
|
571 posts
|
Post by westendwendy on Apr 15, 2017 12:28:40 GMT
Saw this on Broadway last night. In my three decades of seeing stage shows I don't think I've ever seen such a sexy cast in my life. Hot damn! They could dance, act, belt their lungs out and all looked like models. Wow... There's something magical about Broadway shows that rarely translates to the West End. Energy, style, first class talent, beauty and all multi talented. The live band on stage and music/arrangements/performances were out of this world - and the Latino drums and Gloria's hit songs had everyone "on their feet". I loved it. Downside was the actual plot about her life was a tad bubble gum and surface. Thin story. I thought it was a great show but the book let it down. An original book might have been better like Mamma Mia? Still, the Miami sound machine magic was just incredible - the rhythm is gonna get you! 7/10
|
|
571 posts
|
Post by westendwendy on Apr 15, 2017 1:24:07 GMT
But the age difference isn't ten years...it's one. I know the actors and I know the show. If I could afford to see it or had time to I would but my next trip to New York is already packed with 4 other shows. But yes it was only meant to be a minor rebuttal to your minor comment so let's move on. BUT THEY LOOK TEN YEARS DIFFERENT ON STAGE!!!!!!!! Forget the real ages!!!!!! Being one year or one hundred years in reality has nothing to do with it. I really don't know why you can't accept it, she looks older, I said it's not ideal, she looks a tad older, move on....
|
|
571 posts
|
Post by westendwendy on Apr 15, 2017 0:01:55 GMT
My point is is that if Gavin weren't gay and Kate weren't married, they could easily be a very plausible couple and nobody would be shocked at the age difference in either looks or literal terms. So I don't see why they wouldn't be a plausible couple on stage. I've seen Gavin in Book of Mormon and Kate in Big Fish so I know what they look like. But we'll have to agree to disagree. I find it rather odd that you have an opinion on casting and a show you haven't seen! It's like Eponine being ten years older than Marius, or Christine being older than Phantom. The casting (whatever the age of the actor in real life) is what it is.... To have a slight difference changes the whole character/motivation/sub text and back story to the roles. Anyway it's no big deal as it was a minor comment. It's a super show. Go see it
|
|
571 posts
|
Post by westendwendy on Apr 14, 2017 20:34:41 GMT
Kate Baldwin is only a year older than Gavin Creel? Well that may be but he looks early 30s and she looks early 40s
|
|
571 posts
|
Post by westendwendy on Apr 14, 2017 13:26:13 GMT
Sooooo with wide eyes and a gleaming smile I sat on the front row tonight in anticipation for "Hello Dolly!" on Broadway. Oh and a little person called Bette Midler was playing the lead role! Wow... An incredible atmosphere of excitement in the theatre and the second the orchestra started the audience went wild. I admit I had tears down my face a few times, The show is great, I loved it but - I don't think that it's the best musical ever. The director knows it too and every single line was said for laughs (trying to make it funnier than it actually is). That said, this new production with a steam train on stage and other gigantic moving set pieces is breathtaking and looks a million dollars. The supporting cast (with Frasier's David Hyde Pierce) is almost flawless (Kate Baldwin is a tad old in comparison to Gavin Creel) and the big routines sublime. Bette is fabulous (I cried again during the famous "Hello Dolly" waiter number which received a standing ovation in the middle of the second act) but at 70 I think she's a tad old, her singing isn't what it used to be, she was obviously pacing herself and it took her to act two to really work the audience (she was also wearing a suspicious earpiece). Maybe she should have played this role a decade ago? Slight negatives aside, I fee privileged to have watched her perform live just two meters away from me. A wonderful revival of a classic Broadway show and a night to remember. 8/10.
|
|
571 posts
|
Post by westendwendy on Apr 12, 2017 16:15:14 GMT
How do you add photos? I've got images from all the sets of Charlie on Broadway...
|
|
571 posts
|
Post by westendwendy on Apr 12, 2017 16:11:59 GMT
Have just seen that this has 7 producers. Any idea why so many? It's all about money. Anyone who throws 30k in can call themselves a producer. It's the split cost of the production.
|
|
571 posts
|
Post by westendwendy on Apr 11, 2017 7:05:17 GMT
I do wonder if this will extend once again. Even though none of its weeks have been 100% Capacity (selling steady every week at the 78%+ mark), bar the first week of performances, it has made over $1 million every single week, and even then, with the first week, it made over $800,000 on 5 performances alone! Thus far, in order of most recent week to first week of previews, it has made: $1,260,957.20 $1,210,262.40 $1,325,121.70 $1,300,708.80 $1,142,253.60 $833,693.80 So clearly, even if it is not a sell out, those going are willing to spend the money! You can add - $1,253,433 for this past week (ending March 19) - so even with increased competition with more openings, Sunset is holding it's own and still ranks as the highest gross earner of ALW's 4 shows with only 7 performances per week compared to 8 for the rest. So yes, Sunset is doing very well this time around. I love that Broadway publishes the weekly takings!! It's very exciting...
|
|
571 posts
|
Post by westendwendy on Apr 7, 2017 19:34:22 GMT
For some reason it's not gaining steam on Broadway. It's a very competitive season there, but despite that, I see that all the new competing shows have a) a niche market b) generating a lot of press and coverage (not necessarily reviews, for those that didn't open yet). Dear Evan Hansen has its whole parent/child audience going on Comet has the immersive factor and Josh Groban War Paint has the divas Anastasia has the mother/daughter thing going on Come From Away, I don't understand exactly the type of audience that would specifically gravitate to it, but it's doing well ...Groundhog Day has..? I feel that it had the potential to be the answer to this season's Book of Mormon: a musical for non-musical lovers and has a wider cross over appeal, potentially appealing to the bros who aren't into musicals. But I feel that they're not capitalizing on that, or anything really. ...the revivals are also getting a lot of spotlight with Glenn in Sunset and Bette in Dolly. It's a good show, that's for sure. But I think there are mismatched expectations here. It did so well in London I think due to the lack of original and/or good commercial runs in the London scene. So when we got it, we all freaked out and were overjoyed especially since it landed here before Broadway. The only show that has matched it in London in terms of excitement and managed to be the "it" show of the season has been Dreamgirls so far, and although new to London, is a revival and not exactly "cutting edge" material. I think this is nonsense. Come From Away is the musical of the year and everyone is just raving about it. Being about Newfoundland and 911 the piece has a raw heart and a story that resonates to the NYC audiences, Groundhog Day is also doing well with word of mouth and it's a huge film in the States - more so than the UK. Sunset finishes in June and Hello Dolly with Bette is a brand/revival of its own. The flops are Charlie, Amelie and sadly Anastasia. It will do a good 3/4 year run I think.
|
|
571 posts
|
Post by westendwendy on Apr 7, 2017 16:43:54 GMT
The front few rows balcony in Collesium are super and the sides often 12/15 pounds!
|
|
571 posts
|
Post by westendwendy on Apr 7, 2017 14:42:02 GMT
I go the theatre twice a week and rarely pay full price so I don't think this is true. This is how I afford to do it.
A go to places like Southwark and get their carnet or preview tickets (10 pound a show if you get the PAYE)
B know what theatres close the balcony and buy the cheapest seat knowing you will be upgraded. Pay 15 sit in a 60 quid seat.
C TKTS or Love Theatre offers
D dayseats or just go to the box office at 7pm. Many like Mamma Mia don't have dayseats but they will give you an unofficial last minute discount seat (29.50 instead of 70)
E Today Tix, physical and online lotteries. From standing outside Book of Mormon, the front row Dreamgirls lottery or the Aladdin website draw - this is a luck based way of getting cheap tickets
F Group bookings. I have a group on Facebook and often get ten mates together and book most new shows. Generally we pay 35 instead of 75 for front stalls.
G Comp sites. I have been a member of two ticketing agencies for a few years now. They cost (one is about 75) but I got four premium free tickets to Miss Siagon. Pays back in one trip.
H Fringe - Stratford East, Wimbledon, Bromley, Other Palace, Chocolate Mernier - book ahead and get the cheapest tickets and you will quadruple the amount of theatre you visit.
I Cast seats. Know people in the cast or crew and they get discounts or comps!
J Press invites and comps. Even bloggers can blog free tickets! Trust me!
K The gods. Front row balcony or side balcony seats always have a clear view (you mostly need to book in advance). I always book the ENO at the Collesium and usually pay 12 to 15 pounds.
L book the worse and cheapest seats in the house then at the interval spot empty seats and move down!!!
M standing seats. I haven't done this for years but remember paying five pounds for Starlight Express at the Apollo Victoria back in the day. Of course many theatres still do this.
|
|
571 posts
|
Post by westendwendy on Apr 2, 2017 23:03:01 GMT
My vote is for Mame, Scarlet Pimpernel, Funny Thing Happened...., Kiss Of the Spiderwoman, Me and My Girl or Curtains.
As for Stephen Bored - I wanted to shoot myself. Dreadful show...
|
|
571 posts
|
Post by westendwendy on Apr 2, 2017 12:18:23 GMT
I'm seeing this in two weeks if anyone wants any merchendise.
|
|
571 posts
|
Post by westendwendy on Apr 2, 2017 12:15:38 GMT
I could cry that no one has got this show right. Mary Poppins was glorious, even Chitty was fun. Charlie has just been a disaster it seems on both sides of the pond. Whilst UK Charlie didn't please some critics, playing to a relatively full house for 4 years in Londons biggest theatre is hardly a disaster. I didn't say the show wasn't successful. Four years is great. That said being "good" isn't good enough for such a beguiling story that millions hold close to their hearts. It truly is one of the best films from my childhood. The stage show ran for such a long time because of its name not because the show was extraordinary. The set was mostly great, new music pants, not including the original songs bad, plot/book odd and magic none existent. I don't wish the show to do badly as I have friends in the Broadway production (and I've seen all the new sets) but doubt this new version over the pond will last very long.
|
|
571 posts
|
Post by westendwendy on Apr 2, 2017 12:09:53 GMT
No it's wasn't you there are massive sound problems in this show. If this show got 22 5 star reviews then I would give 42nd street my first 6 star. I enjoyed it, it just doesn't know if it's a musical, a ballet, a concept piece and its in the wrong theatre.
|
|
571 posts
|
Post by westendwendy on Apr 2, 2017 10:00:06 GMT
I could cry that no one has got this show right. Mary Poppins was glorious, even Chitty was fun. Charlie has just been a disaster it seems on both sides of the pond.
|
|
571 posts
|
Post by westendwendy on Apr 2, 2017 1:45:55 GMT
Well I finally saw the film Beauty and the Beast tonight - note to Hollywood; GET ACTORS THAT CAN SING OR BRING BACK DUBBING! A good film and I enjoyed it, but thingy Watson was really miscast. I also don't understand why they needed all the new songs when the stage show is amazing as it is. A fun live version, but too much CGI, pacing issues, the story is a bit flawed (why would she within days not have a care in the world and be friends with someone who has captured her?) and I missed some of the original songs. Nice ending though. Samantha Barks should have been Belle. A sweet 7/10
|
|