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Post by westendwendy on Apr 1, 2017 12:56:45 GMT
The dance chorus will be on 550 equity minimum no? Even 800 a week and twenty more in the cast than normal that's just 16,000 pounds extra a week. Considering these shows have a potential to make over half a million pounds a week or more it's not too much to have a large cast. It's huge sets, hydraulics, automation like Sunset or Lord of the Rings that makes it expensive. I don't see 42nd Street as that expensive to run in comparison. I hope it runs for years. Amazing show.
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Post by westendwendy on Apr 1, 2017 10:09:11 GMT
Dear Sam Mendes and Warner Brothers theatricals.
To save this show keep the London sets, add Candy Man, Cheer Up Charlie, I've Got a Golden Ticket songs, get Alan Menken to do a new score, redesign the chocolate room to be the most breathtaking wow set ever and change the chocolate river to actual brown water (they did it with Bombay Dreams), return the archrival Arthur Slugworth sub plot (to me that's the whole point of the everlasting gobstopper trust predicament), and move the entrance to the factory at the end of act one. Basically in Mary Poppins style recreate the magic of the film on stage please.
Hey presto I just saved you all millions.
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Post by westendwendy on Mar 31, 2017 17:23:24 GMT
I presumed the balcony in Wimbledon had sold out only to realise that it's empty also for Cilla - I presume they have taken it off sale. A shame. I loved the 15 pounds front balcony seats. Still I got the ATG 10 pound tickets, which are very very confusing to buy. You have about 20 choices of prices! Like train travel in the UK now buying tickets.
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Post by westendwendy on Mar 31, 2017 12:24:36 GMT
Every casting director, producer and agent in America will want to see the show on Broadway. If I was an actor in the original cast I personally would want to do the transfer across the pond!!
As for other productions opening - they will let it settle on Broadway first, very important they don't over saturate the brand (like The Ivy restaurant is dreadfully doing!) too much of it and it makes it seem less important.
Regarding the UK there is too much understage hydraulic and trapdoor work for short two month runs. I see a stop down two year run in Manchester but you are looking at 2025 or beyond. Excited for the new cast / I'm going again in June!
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Post by westendwendy on Mar 30, 2017 23:04:18 GMT
This show is not camp or cheesy at all!! The person who said that needs to see Xanadu, Priscilla, La Cage and Starlight Express!
The show had some great numbers from Cy Coleman but after watching tonight it is just toooooo longgggg. Everyone in my group complained about that tonight. Also the casting was a bit hit and miss. Sharon D Clark just a masterclass in performance while the girl playing Queenie struggled. No journey and was acting by numbers. With a different actress that could have really saved the show.
Great ensemble and superb choreography and staging. I did enjoy it but it wasn't the best show I've seen at Southwark. Needs 30 minutes cut from it. Unlike Carrie, Xanadu, Dogfight and Side Show I won't be returning to watch again. 7/10
And yes I thought a song sounded like I won't send Roses too! Haha
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Post by westendwendy on Mar 30, 2017 7:39:29 GMT
Tonight 20 of us went to see 42nd Street the musical at the Theatre Royal Drury Lane theatre on the West End. Dear god it was so brilliant it should be put on the NHS. Magnificent dancing, sets, performances and one the few West End shows I've ever seen where I felt I was watching a real Broadway spectacular. An incredible show with over 50 dancing in the cast. Even the none musical lovers in our group adored it. Wow... London has rarely seen anything like it. If there is anything you do tomorrow - book tickets for this show. One of the best we have all seen in years. Just brilliant 9.5/10.
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Post by westendwendy on Mar 30, 2017 0:33:16 GMT
Cheer up Charlie isn't in the Broadway show..
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Post by westendwendy on Mar 29, 2017 13:56:11 GMT
The set is completely different and glad they have added new songs. The West End set has completely gone and changed. No one seems impressed from the people I know who even work on it. I don't see this as a long runner - no one seems to have got the show right yet.
The West End version looked great but was bad with many flaws (many music in my opinion), the new Broadway production looks cheap sadly but had solved some (but not all of the original issues) with the original piece.
I'm sorry but they should have just had the film onstage with some extra melodic songs to pad it out aka Mary Poppins style. I feel this show will evolve and one day it will become what it always should have been, recreating some of the magic of the film on stage.
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Post by westendwendy on Mar 29, 2017 5:56:22 GMT
Just great. I really loved it. It's a shame it wasn't filmed or something. Oh well. I love the current orchestrations (even if I don't love the current song list (as above)). The cast generally seemed to be loving it. I only noticed one and a half slip-ups at the very end. Actually, did Electra fall over at the end of It's Race Time?? If so, he styled it out well. I love the laser effects throughout - they looked so great; they must've spent a fortune on this show over the years. Was a bit worried by Pearl's singing at the beginning but by the end of the night I thought she was great. Let's hope they do it again in English at some point in the future. (Or better still a revival with tracks and a bridge in the U.K. . .) Well done to the amazing cast for learning it just for one night. If I was them I'd be a bit annoyed at having to do that, but maybe it made it extra exciting as it kept them on their toes! The cast wouldn't have had to learn the show in English. You learn both as you learn the German version. Plus as you live and breath the show with so many rehearsals and covers you equally know the show in both languages anyway. Otherwise you wouldn't know what you were singing! I really hope they do the show in English again and I look forward to the 30th birthday celebrations next year. Amazing show.
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Post by westendwendy on Mar 23, 2017 12:42:06 GMT
Who leaves the biggest new musical on the West End after just a few months? Not good forget career.... Something fishy has gone on. Not just with her but I think they are having general backstage and casting dramas all round - what is it with that theatre?
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Post by westendwendy on Mar 22, 2017 18:59:44 GMT
I agree with the orchestra issue, I was front circle and it sounded tinny and quiet. I put it down to less speakers towards the circle to save money?
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Post by westendwendy on Mar 17, 2017 17:15:07 GMT
I'm genuinely glad that others have liked it - I want theatre to succeed and if it did for others - great! Obviously there were problems with the performance I saw if the actor is asking the audience (after a long silence from something that I think was meant to be funny): 'Have I lost you?' (or does he always do that?) I hesitated to post my thoughts because I know it's annoying if you've loved something to have someone poke holes in it. I adored 'She Loves Me' and not everyone else did - and I was like 'I can't believe it, it's heaven.' But that is what makes the board interesting. And we're all seeing slightly different shows, under different conditions. (A personal pet peeve of mine is the 'I can't hear you' stuff - even in pantomimes I'm a bit yergh about that, so obviously I wouldn't be the ideal audience for that approach.) Zmed: I talked to a lovely woman before the show who was there especially to see him, so he has his fans. I didn't feel entirely secure when he was on stage - to me, it felt a little tentative, but there were no obvious flubs. He's very short and some of the other performers, especially in heels, towered over him which made for some sight gags. The "have a lost you?" is a scripted by John. It wasn't specific to the actual performance in question. Although the random German part was odd and rather eggy. It made sense in the moment.
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Post by westendwendy on Mar 17, 2017 2:18:55 GMT
Saw this last night. One hates to be overly negative but I really, really struggled to find any positives in this show beyond an amazing performance as the Genie. It's actually kind of self-fulfilling that he opens the show sensationally with Arabian Nights, says "don't miss me too much" as he leaves then the resultant hour before he comes back on is so soul-destroying that you're begging the show to get on with it so he can pick it back up again, which he did with the equally sensational Friend Like Me. The biggest problem with this show is the material; the script is an out-and-out abomination, with sub-pantomime innuendos that sunk like a lead balloon and positively cringeworthy nods to removals from the original film (a special place in Hell is reserved for whoever wrote "must you parrot everything I say"). The new material is a huge issue, not a single one of the new songs rises above 'barely tolerable', with Aladdin and Jasmine's new duet on the rooftop being a particular low point. I don't know whether it's the material, direction, performances or a combination of all three but the characterisation is terrible: In this show, Aladdin is an arrogant, preening douchebag who you desperately don't want to succeed, Jasmine is a wet paper tissue who makes no kind of impact whatsoever, the Sultan has been reduced to a cipher who does and contributes nothing (why did they remove the subplot of him being hypnotised by Jafar??) and Jafar and especially Iago are completely insufferable. While I'm at it: What is the point of the three sidekick characters? Literally, why are they there? They contribute absolutely nothing to the plot and only exist to pad out the running time and bolster Aladdin. God, their terrible song that feels like it lasts for half an hour and ends with them being captured and the Genie freeing Aladdin as in the film, making the entire thing completely pointless. Then they're captured in their civilian clothes and somehow end up in their royal garb for the finale, did the guards allow them to change their clothes?! Oh God, that finale. How bad is the finale? Having agonisingly stretched an 80 minute film into a two-and-a-half hour show largely by extending two minute scenes in the film to 15 minute scenes in the show and adding awful songs, they inexplicably decide that everything from Jafar getting the lamp to the ending should be rushed through in one two-minute scene with barely any room to breathe. I will say that I thought the ensemble looked and sounded great, the set (particularly the Cave of Wonders) was fantastic and the orchestra was in fine form. It's actually rather dispiriting to see so much energy, talent and effort both onstage and off wasted on such rubbish material. Other than that this is genuinely one of the worst shows I've seen in a long time and there's nowhere near enough to justify paying the sky-high ticket prices unless you're a completionist like I am. I love this. You should work for Disney!
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Post by westendwendy on Mar 17, 2017 0:57:00 GMT
I saw this tonight. First of all what an amazing production standard for Kenwright! Hats off to him. Really looked like a West End show. Amazing costumes and set. Super classy.
The female "mutes" were just chorus girls (someone above didn't get the joke) - they do so little in the show (as Anne covers?) Zaza comments "and you two get paid to do nothing" was hilarious. I chuckled at that one.
Here are the negatives; First of all Albin/Zaza needs to be slightly past it, classy, warm and likeable. Partridge played him like a bitter acid queen on crack with a dreadfully trite and annoying Coronaaaaaation Street northern accent. It changed the characterisation of Albin in a negative way as the audience then cared less about the role. John was great and is a super performer but he was eggy, self indulgent, broke the 4th wall too many times and added too many cheap gags (Primark was funny but this is meant to be St Tropez!) He was too young for the part, voice was shrill also and he came across too harsh and bitchy.
That said it was a wonderful night and we all just loved it. For 15 pounds front row Circle it was a steal and one of the best touring shows I've seen.
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Post by westendwendy on Mar 17, 2017 0:45:07 GMT
He NEEDS TO STOP!!!!!!!
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Post by westendwendy on Mar 14, 2017 23:51:53 GMT
I returned to Starlight Express after a very long absence last evening, so since I know quite a few of you are making the trip over next month for the English performance, I thought I'd share a few thoughts here. Let me start with the good bits straightaway: The show still feels fresh and is in good shape - you wouldn't know that it's been going on for 28 years now. It helps that they have assembled a young new cast - the only name familiar to me at all was Carla Pullen (Pearl) who's been in and out of the show for some years now but still did a great job. Current Rusty is a young American performer, Jeffrey Socia, who's just the kind of fresh-faced sweet guy you need for the part. Greaseball and Electra were played by understudies, so you probably won't see these guys, but personally I was very taken with Dewayne Adams (Greaseball), a VERY good-looking young chap who I hope will resurface in London at some point. I can't really nitpick at the performances the way I would have done during my fan days about 20-25 year ago, but personally I didn't see a single weak link in the cast. Understanding anyone has been as bad as it always has been (I notice this mostly with the new songs where I don't know the lyrics inside out) but that won't be a problem for you guys anyway and I think it has never really mattered in this show anyway. A lot of whimsical little things have been introduced/added through the years, most of which were pointless (sparks flying from Greaseball's skates? The "stunt skaters" on inline skates?!) but don't detract either. One lovely thing that stood out to me was that during Starlight Express and I am the Starlight, the whole theatre ceiling is now covered in twinkly stars. The bad bits: I had seen it last after a few new things had been introduced and more new things had been added in the meantime and all of them seem incredibly pointless. Why replace "Engine of Love" with "Call me Rusty", why cut the charming little ballad "There's me", what exactly does "Crazy" add to the show and most importantly: Why the heck replace "Only you" with two inferior songs (first "Next time you fall in love" now "I do/Fuer immer")? It was a good old-fashioned ALW power ballad and neither of the new songs come even close to it. "Fuer Immer" is typical German schlager sound, so it was probably written consciously with the German audience in mind and it's not a BAD song, it's just not as good as "Only you" in my book. I was stunned by the small band that came up to take their bows at the end - I counted ten people, whereas I remember an orchestra with twice that number back in the day. It certainly accounted for the somewhat tinny overamplified sound. It wasn't sold out by far - I'd say one-fifth to one quarter of seats were unsold, but considering it was a Sunday evening and the show has been going on forever, that's certainly not bad and it's still selling better than many Stage Entertainment shows in their first year. The programmes/brochures are a joy at 9 Euro with many large colour photos. Lastly: You are officially allowed (even invited) to film the "Megamix" at the end, so make sure your phone is charged and ready. My wish? Go full circle for the 30th birthday and return to either the original Bochum version or the original London version with Belle the Sleeping Car and the power ballad Only he. But either way I'm starting to think that this show will possibly outlive me. It's still selling well and it's in good shape. From my much older and much more experienced vantage point it is a bit of a silly mawkish show you shouldn't look too deeply into, but it's still a hell of a lot more entertaining than most of Stage Entertainment's overpriced shows around here. And if you stop for a moment to consider just how ground-breaking the show was when it first opened in 1984, how insane the whole concept of roller-skating trains sounds on paper, I think ALW deserves some kudos for having had the guts to go through with this thing. It was still so much more of a risk and crazy idea than the carefully crafted commercial entertainment shows that start life in board rooms rather than a composer's imagination these days. So, long may the Starlight Express roll on. Forgive me if I'm wrong but Only You was in the London production of SE over 25 years ago so hardly a 'new' song (unless of course you are referring to 'new' as in new to this production?) ALSO do we think this 'one off english show' may become a regular thing? Seems it's a littl OTT for the cast to learn practically a whole new show lyrics wise for one night? I do hope they do more as seeing The Stranglers that night in Brighton so can't get over As most of the cast are English or American and live and breathe the show most will know 80 percent of the show in English anyway. In phonetic rehearsals they learn both really anyway as you need to know what you are saying (although the translation is different). I do hope that the shows in English catch on, I think they will. As for the shuffling of songs they desperately need to bring back Leibessexpress (Engine of Love) and Du Allein (Only You) they are both two spinetingling moments in theatre and the new songs don't reach that emotional level. Exciting thought to bring Belle back into the show for the 30th anniversary. I hope creatives and the producer Debbie, Stephen and Meinolf in Bochum are reading this thread!
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Post by westendwendy on Mar 14, 2017 23:35:48 GMT
Thank goodness they are putting Candy Man for the start of the show and I've Got a Golden Ticket into the show. Sad Cheer Up Charlie never made it. The set is completely different too. Exciting what they will do with it, the adults playing the kids seems to work! As its a completely different production they really should have designed new artwork and logo in my opinion.
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Post by westendwendy on Mar 14, 2017 23:29:20 GMT
Is she big in the UK? Omg ... Wash your mouth out with SOAP!
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Post by westendwendy on Mar 14, 2017 23:27:53 GMT
So it's using original music with Abba? How interesting...
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Post by westendwendy on Mar 12, 2017 8:34:04 GMT
I think we all agree the show is good but the music bad! At least FN has done decent songs in it.
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Post by westendwendy on Mar 9, 2017 14:22:28 GMT
Happened in Throughly Modern Millie UK tour when I saw the matinee in Liverpool a few weeks ago. Fake corpsing....
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Post by westendwendy on Mar 8, 2017 8:50:21 GMT
saw this last night.... The Dominion is too big for it, it needs more dancers on stage, we've heard the songs before in "Crazy For You" (I know this came first) and I'm not sure the piece really knows what it is (musical/ballet/concept show) - but gosh the dance sequences, lights, costumes and sets were gorgeous. What talent on that stage. The leads performers were just incredible. This is what La La Land should have been. Half our group adored it, the other less impressed. My verdict? Dancing 9/10 - overall show. 7/10. Theatre was 80 percent full. A nice show but won't be here in two years.
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Post by westendwendy on Mar 7, 2017 7:22:11 GMT
This did so badly in the Olivier Award nominations (not surprised) how is the show doing? I saw it once and was very disappointed... I wanted it to be amazing and something I would make repeat visits for. I'm sure the cast and crew and Disney are also disappointed by the lack of nominations.
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Post by westendwendy on Mar 7, 2017 7:15:59 GMT
I thought the show felt painfully long and had some really bad singing in it. I understand as a rep you have to cast actors across the entire season but I felt it was too ambitious for their first show. Mixed abilities, sound issues and I'm sorry to say I was bored. I thought it might have been the show, but I saw fiddler ten years ago on Broadway and I thought that production was beautiful. Still a great attempt from the Liverpool Everyman. I'm excited to see more from them.
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Post by westendwendy on Mar 7, 2017 7:12:54 GMT
I hope this wins lots of awards. Great show.
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Post by westendwendy on Mar 7, 2017 7:09:29 GMT
I wonder if they're doing group discounts as a result of the Olivier nomination? Buy one ticket, get another 5 free. That is a disgrace!!! A collective group for best actress? Bad
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Post by westendwendy on Mar 2, 2017 8:23:47 GMT
Saw it tonight- dreadful. Ugly cheap set. Scarlett Strallen is utterly wrong. Playing it like Mary Poppins. All of the accents are problematic, worst one- Katherine Kingsley mangling every joke. And to think Jane Krakowski was so sexy and effortless in the role in NYC. One of my worst shows of the year. Utterly charmless and a huge disappointment. I'm glad you agree about Mary Poppins!
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Post by westendwendy on Mar 1, 2017 23:06:24 GMT
A bit late to see this one and saw it tonight. A mixed bag really Les Dennis was truly AWFUL. Who ever thought of casting him? One of the main faults I suppose was the idea to move the show into English accents, it made the show full of class issues and social division (Umbers with his hugh grant type posh RP and Les Dennis as his Coronation Street Northern boss) not to mention the change of characters for other roles (same with Wicked in my opinion). What on earth happened to Budapest?! Huh? It didn't work.
Scarlett although a wonderful MT performer was annoyingly eeeeeeeeenglish in eeeeeeeeeveryyy waaaaayyy. (Think Mary Poppins on crack). There was no light and shade, far too harsh and it made me not care for her character. Same for most of the others in stage, brash stereo typical roles mostly over acted. Shame.
The set however and orchestra were both stunning. Katherine Kingsley although I didn't agree with the use of a cockney accent was glorious in her role. Incredible what you can produce in such a small space. 6/10
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Post by westendwendy on Feb 27, 2017 1:13:10 GMT
Anyone else see the brand new rep company in Liverpool yet? I would love to know what others thought?
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Post by westendwendy on Feb 25, 2017 15:58:32 GMT
Watching this at the Liverpool Empire now... How can such an incredible show what I saw on Broadway end up as a low key cheap and tacky touring show with DREADFUL lead actors such as Michelle Collins in the role. It's beyond terrible...
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