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Post by mkb on Sept 30, 2023 2:17:44 GMT
I particularly enjoyed all of the banging and movement of the white curtain whenever I was doing a little solo on the downstage steps. And I particularly enjoyed this sentence, which on first view suggested you got so frustrated you went up on stage to show them how it's done - several times! Quite! But how do you know the second Mrs de Winter enjoyed that sentence?
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Post by mkb on Sept 30, 2023 2:54:20 GMT
Oh dear! Oh dear! Oh dear!
This was very nearly so-bad-it's-great, but it wasn't quite bad enough. But it is salvageable.
Forget any ideas about rewriting the lyrics, lyrics that had me chortling out loud frequently; forget about re-casting with age-appropriate performers who can act; do not put this on a bigger stage; do not light it properly; and whatever you do, do not change the set design.
Instead, embrace it, camp it up, and turn up the hamming-it-up dial several more notches (as there were strong suggestions that some cast members were already starting to do this). This has the potential to become a cult, must-see classic. As it stands, it's well on the way to being a marvellous spoof, but it's not there yet.
It's strengths are the musical score and the fact that the (utterly banal) lyrics are beautifully sung. The style and effect reminded me of Spamalot's "The Song That Goes Like This".
I was unencumbered by any prior knowledge of the show, save having seen Hitchcock's fine movie version, and the ratings atop this thread. My expectations were set accordingly. (In fact, I booked only two days ago, when two great seats in the centre of row K opened up, guessing -- correctly -- that I could be missing out on a show that will be talked about incredulously for years to come.)
And those ratings are harsh! Take no notice. You cannot fail to enjoy this production. Despite being deliciously awful, it nevertheless has a cracking story seeped in sumptuous melodies and voices. It's both five-star and one-star simultaneously, so how do you rate that?
Be warned that if you sit in rows B to J, you will struggle to see some of the action on the de facto second stage in the cross-aisle in front of K.
Three stars (going on averages).
Act 1: 19:34-20:43 Act 2: 21:04-22:06 (Ignore the 2:15 running time still quoted on the official venue website. That's nonsense.)
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Post by mkb on Sept 30, 2023 3:19:08 GMT
An email from the theatre had promised a post-show discussion tonight. It would be hosted by "theatre critic and arts journalist", Mr Mark Shenton, who I know is a TheatreBoard favourite. (No sniggering at the back please.)
He didn't seem best pleased -- with good reason -- that the theatre forgot (or maybe chose not) to announce the event from the stage, either beforehand or at the bows, meaning that only 26 people stayed behind. I nearly left assuming it must have been cancelled.
Anyone who thought Rebecca a car crash had seen nothing yet. Shenton's handling was dire. He was clearly winging it with no prepared questions. Talking to four cast members, he got Alex James-Ward's first name wrong, and regularly spoke when he was not holding the mic.
Some sample discourse: "You're all drama-school trained aren't you?" "Yes!" "Where did you go?" "It's a big deal this, isn't it?"
You get the idea.
Tellingly, when Richard Carson said that they had seven weeks left to run, Lauren Jones's face had such a look of anguish at the thought that I felt genuine sorrow for her.
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Post by mrbarnaby on Sept 30, 2023 9:32:25 GMT
This sounds brilliant! Karma for Shenton.
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Post by 141920grm on Sept 30, 2023 10:31:24 GMT
Attended last night’s show + post show talk too… yes Lauren and Kara’s vocals were incredible, yes the opening had such a lovely filmic quality I almost questioned the critical reviews of the production design on here, alas there were then many more moments in the show that made me want to giggle/hide my face in shock/horror/incredulity…
But the biggest facepalm moments by far was during the Q&A when Mark Shenton got the Favell actor’s name wrong to his face despite having a programme on hand, and almost tried to argue with Lauren about the real name of ‘I’ which he thought was Caroline despite having seen the show twice…
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Post by BVM on Sept 30, 2023 10:37:00 GMT
Attended last night’s show + post show talk too… yes Lauren and Kara’s vocals were incredible, yes the opening had such a lovely filmic quality I almost questioned the critical reviews of the production design on here, alas there were then many more moments in the show that made me want to giggle/hide my face in shock/horror/incredulity… But the biggest facepalm moments by far was during the Q&A when Mark Shenton got the Favell actor’s name wrong to his face despite having a programme on hand, and almost tried to argue with Lauren about the real name of ‘I’ which he thought was Caroline despite having seen the show twice… Oh my God! Why oh why did they ask Shenton!? It's the last thing this poor beleaguered show needs!
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Post by mkb on Sept 30, 2023 10:43:01 GMT
Perhaps they are thinking of offering him "stunt casting" as Mrs Danvers for the rest of the run The only character with a Cornish accent was mad Ben. If Shenton can do Cornish, maybe that would be more suited?
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Post by mkb on Sept 30, 2023 10:52:37 GMT
But the biggest facepalm moments by far was during the Q&A when Mark Shenton got the Favell actor’s name wrong to his face despite having a programme on hand, and almost tried to argue with Lauren about the real name of ‘I’ which he thought was Caroline despite having seen the show twice… It was also revealed by Alex James-Ward (Favell) that when he enters early on playing a waiter, the tray carrying three gelatos are actually whipped cream. He offers one to the audience and he can tell from the response what the audience is like. Last night it was offered first to Shenton, then two others. No takers.
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Post by Someone in a tree on Sept 30, 2023 11:01:57 GMT
Shenton and this production sound like a match made in heaven
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Post by 141920grm on Sept 30, 2023 11:26:11 GMT
It was also revealed by Alex James-Ward (Favell) that when he enters early on playing a waiter, the tray carrying three gelatos are actually whipped cream. He offers one to the audience and he can tell from the response what the audience is like. Last night it was offered first to Shenton, then two others. No takers. I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂
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Post by BVM on Sept 30, 2023 11:35:38 GMT
It was also revealed by Alex James-Ward (Favell) that when he enters early on playing a waiter, the tray carrying three gelatos are actually whipped cream. He offers one to the audience and he can tell from the response what the audience is like. Last night it was offered first to Shenton, then two others. No takers. I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂 I’d be worried about Lysteria. Honestly between the state of the toilets, the damp auditorium and now warm cream - whole experience is a health hazard 😱.
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Post by 141920grm on Sept 30, 2023 12:06:46 GMT
Some venting about the staging: {Spoiler - click to view} Initially enjoyed the actors using the downstage steps for scenes while the crew swapped the sets around behind the white curtain, but at times they were *really* making a racket back there! I just wanted to hear Lauren and not the crashes thumps and train noises in the background :/
However the tactic got old after a few more scenes taking place on those steps.
Cherry on top (not) was Richard taking a casual seat on those steps for his final lines while Manderley was 'burning'... lol...
And one almost excruciatingly long transition where there was no music, no actors, half darkness, just endless shuffling behind the white curtain as they got the correct wall panels ready for the next scene.
The floral/vine patterns on the panels were just ugly.
The dining tables and chairs used for Monte Carlo hotel/car/cliff scenes were well intended, but they did absolutely zero with the lighting which could have gone a long way in aiding the imagination/suspension of disbelief. Or at least flip the tablecloths over... not the chairs...
The worst/most laughable transition was after 'Rebecca 1', after the stage right panel/windows/French doors had been thrown wide with fog still drifting in, Mrs Danvers and 'I' having turned to leave the room... a crew member leaping in through the exact opening emerging from the fog was f-ing TERRIFYING (me thinking- did I miss something in the book? did someone break into the house? will I be witnessing something truly innovative with the transitions?) but NOOOOO it was just the next set pieces having to be brought in and what better place for the crew dressed in all black to jump in, than right in front of the audience and without a blackout??...
I sat nervously through the rest of Act 2 whenever that window panel + fog was present...
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Post by tubifrank on Sept 30, 2023 14:37:07 GMT
He didn't seem best pleased -- with good reason -- that the theatre forgot (or maybe chose not) to announce the event from the stage, either beforehand or at the bows, meaning that only 26 people stayed behind. I nearly left assuming it must have been cancelled. I was in last night and heard an (admittedly very quiet) announcement at the back of the auditorium - probably a broken system judging by the state of the rest of the theatre! I didn’t stay for the Q&A as I can’t abide that man. As for the show, the cast and the orchestra are the best thing about it by miles. I’ll spare you my thoughts on everything else as I have nothing to say that hasn’t already been said…
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Post by max on Sept 30, 2023 22:47:06 GMT
I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂 I’d be worried about Lysteria. Honestly between the state of the toilets, the damp auditorium and now warm cream - whole experience is a health hazard 😱. Personally I like any take away souvenir from a show: whistling a tune, a t-shirt, listeria. The only reason I want to produce Mame' is to sell merch saying "I've been mamed"
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Post by Fleance on Oct 1, 2023 1:36:13 GMT
I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂 I’d be worried about Lysteria. Honestly between the state of the toilets, the damp auditorium and now warm cream - whole experience is a health hazard 😱. I've been to the Charing Cross twice: For Ragtime, which I loved, and for From Here to Eternity which I liked very much and thought very well staged. I wouldn't have gone to the latter, but a friend recommended it, and I'm glad he did. But -- when I saw Ragtime (2016), there was definitely a dank, mildew-ish pong about the place, which was not present for From Here to Eternity (2022).
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Post by max on Oct 1, 2023 8:55:31 GMT
Some speculating above whether there's a world in which Mark Shenton could have an ongoing role.
Can I suggest that the much missed grand staircase be cleverly personified by La Shenton somewhat in the manner of Lumiere in Disney's 'Beauty & The Beast'? Stannah. An attendant male dance troupe around him would play the Bannisters, whipping off their tops to reveal body paint for the flames.
Just a thought.
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Post by austink on Oct 1, 2023 10:19:17 GMT
Let’s be clear the Charing Cross needs about a million spent on it to address basic mechanical and technical issues to bring it up to the basic expectations of an off west end theatre.
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Post by esteveyb on Oct 3, 2023 23:55:51 GMT
Oh dear! Oh dear! Oh dear! This was very nearly so-bad-it's-great, but it wasn't quite bad enough. But it is salvageable. Forget any ideas about rewriting the lyrics, lyrics that had me chortling out loud frequently; forget about re-casting with age-appropriate performers who can act; do not put this on a bigger stage; do not light it properly; and whatever you do, do not change the set design. Instead, embrace it, camp it up, and turn up the hamming-it-up dial several more notches (as there were strong suggestions that some cast members were already starting to do this). This has the potential to become a cult, must-see classic. As it stands, it's well on the way to being a marvellous spoof, but it's not there yet. It's strengths are the musical score and the fact that the (utterly banal) lyrics are beautifully sung. The style and effect reminded me of Spamalot's "The Song That Goes Like This". I was unencumbered by any prior knowledge of the show, save having seen Hitchcock's fine movie version, and the ratings atop this thread. My expectations were set accordingly. (In fact, I booked only two days ago, when two great seats in the centre of row K opened up, guessing -- correctly -- that I could be missing out on a show that will be talked about incredulously for years to come.) And those ratings are harsh! Take no notice. You cannot fail to enjoy this production. Despite being deliciously awful, it nevertheless has a cracking story seeped in sumptuous melodies and voices. It's both five-star and one-star simultaneously, so how do you rate that? Be warned that if you sit in rows B to J, you will struggle to see some of the action on the de facto second stage in the cross-aisle in front of K. Three stars (going on averages). Act 1: 19:34-20:43 Act 2: 21:04-22:06 (Ignore the 2:15 running time still quoted on the official venue website. That's nonsense.) I went to see this tonight and agree completely. I'd never seen the film, have steered clear of reviews and literally decided (thanks to TKTS) to get a row C end of row seat at 7pm. It is SO camp - I absolutely LOVED it! It's beautifully sung, beautifully orchestrated, yet so, so camp with hilarious lyrics, over the top acting, melodrama for days, and ropey staging (I also found it funny when you could hear it creaking when the white curtain was pulled as they moved set pieces around, and it's already in a noisy theatre). Mrs. Danvers is a queer icon!
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Post by BVM on Oct 7, 2023 8:49:28 GMT
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Post by BVM on Oct 7, 2023 8:53:48 GMT
[/quote]I went to see this tonight and agree completely. I'd never seen the film, have steered clear of reviews and literally decided (thanks to TKTS) to get a row C end of row seat at 7pm.
It is SO camp - I absolutely LOVED it! It's beautifully sung, beautifully orchestrated, yet so, so camp with hilarious lyrics, over the top acting, melodrama for days, and ropey staging (I also found it funny when you could hear it creaking when the white curtain was pulled as they moved set pieces around, and it's already in a noisy theatre).
Mrs. Danvers is a queer icon![/quote]
I’ve said it ever since I saw it in Vienna - it’s a camp classic!
(It’s why I don’t understand the fuss about the lyrics - they serve the piece well I think).
And Mrs Danvers does indeed serve queer icon the whole time she’s on stage. Love it!
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Post by mkb on Oct 7, 2023 9:56:15 GMT
But I think it's unintentionally camp rather than knowingly (at least from the director, but the actors may be cottoning on). They should embrace the gothic camp and play it up even more. When Mrs Danvers ascends the stairs, think Ella Lanchester in Bride of Frankenstein (who was also the inspiration for Magenta in Rocky Horror of course).
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Post by erik24601 on Oct 7, 2023 19:53:35 GMT
The theatre website ‘credits’ Nicky Shaw as ‘Production Designer’…
Has anybody seen any more of their work? Curious to know whether the issues are budgetary or lack of talent…
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Post by theatregeek68 on Oct 8, 2023 10:54:00 GMT
Just got home from seeing yesterday’s matinee of this show. Whilst some choices may be very questionable (I.e. design “choices”) I thought the performers were incredible and were absolutely doing their best with what they have.
However, yesterday’s audience was APPALLING. No one applauded until after Mrs. Danvers’ first song - which was almost 30 minutes into the show. Maybe other audiences felt the same but to me it just seemed really rude to the performers who are giving us these incredible vocals and the entire audience just sitting there in silence??!!
Would be interested to know what you guys think.
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Post by rowm on Oct 8, 2023 12:42:03 GMT
Just got home from seeing yesterday’s matinee of this show. Whilst some choices may be very questionable (I.e. design “choices”) I thought the performers were incredible and were absolutely doing their best with what they have. However, yesterday’s audience was APPALLING. No one applauded until after Mrs. Danvers’ first song - which was almost 30 minutes into the show. Maybe other audiences felt the same but to me it just seemed really rude to the performers who are giving us these incredible vocals and the entire audience just sitting there in silence??!! Would be interested to know what you guys think. I have seen it twice now and the audience's have been very different each time. I went opening night of previews and the audience was very very vocal in expressing their appreciation , in fact one was overly so and spoiling the songs as they were shouting and whooping so loudly. The second time , opening of show runs, the audience was appreciative and clapping every song but in a lovely respectful way that didn't spoil the songs. Both shows were standing ovations. I'm going again this week so will see what they are like this time. I think people just enjoy the show in the way they feel appropriate, either quietly listening or fully invested in appreciating the cast. I have to say the singing is incredible and the ensemble are absolutely brilliant. So so talented. I just love this show.
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Post by 141920grm on Oct 8, 2023 13:16:34 GMT
Same with my show too, though I was also among the ones who applauded belatedly... personally being unfamiliar with all the songs I just wanted to hear the final note before clapping, but felt it also had something to do with the musical transitions/ lighting design/ maybe even the score itself? that didn't provide clear breaks for applause, I sensed the people around me were equally as unsure if there was a next verse coming up and hesitated to applaud- and by the time we realised the song had indeed properly ended, the intro to the next one had begun...
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Post by mkb on Oct 8, 2023 14:04:50 GMT
It did seem to have been directed so as not to allow a beat for applause to start until a few songs in. That's not uncommon. I quite like it.
It's better than with some musicals where there are obvious gaps where it feels like the production is fishing for adulation.
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Post by Mark on Oct 11, 2023 21:53:17 GMT
TodayTix had a £15 special on for 24 hrs from today but not even available for sale on there anymore. Have TTix and Charing Cross fallen out again?
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Post by rowm on Oct 11, 2023 22:40:14 GMT
Saw this today , matinee, for the third time. It's just awesome, the music is goosebump giving, the songs are beautifully sung and the leads and ensemble just brilliant. You can tell the cast are fully into their roles and just get stronger all the time. The audience were great tonight too, standing ovation again. The were a couple of covers on but you would not have known, it just flowed. The orchestra are fabulous too and it was great to see the majority wait , standing, until the final note had been played and then applauding them. Can't wait to see it again now. I really hope this cast do a recording.
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Post by mattnyc on Oct 11, 2023 22:50:46 GMT
Who was out tonight?
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Post by rowm on Oct 11, 2023 23:06:40 GMT
At the matinee Mrs van hopper was out, also one other, maybe Horridge , there was a list up in the foyer but the show was just as fab to be honest.
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