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Post by danb on Sept 27, 2024 12:16:54 GMT
Agreed. âHydrogenâ is barely a song; more of a chant on this recording.
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Post by blamerobots on Sept 27, 2024 12:32:24 GMT
The 1984 OLC sounded nothing like how the show sounded at the AV in the 1980âs and contained several single only arrangements. Yes, the 1984 OLC is almost a concept album in how produced and different it is. I do think it works but it's not an accurate recording of the show. Lots of double tracked backing vocals. |
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Post by BVM on Sept 27, 2024 12:39:35 GMT
The 1984 OLC sounded nothing like how the show sounded at the AV in the 1980âs and contained several single only arrangements. Yes, the 1984 OLC is almost a concept album in how produced and different it is. I do think it works but it's not an accurate recording of the show. Lots of double tracked backing vocals. Same I adore it for historical interest and its pure 1980âs sound but I so wish the 1980âs theatre version had been recorded! Bizarrely the sleeve notes claim it was recorded live and then augmented in the studio which doesnât really add up lol! |
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Post by blamerobots on Sept 27, 2024 12:55:18 GMT
Bizarrely the sleeve notes claim it was recorded live and then augmented in the studio which doesnât really add up lol! Yes, I've always wondered about that little liner note, just went and got my copy out to read it again to make sure haha I've always assumed that's a massive lie or that the instrument stems were possibly recorded live on stage and then the vocals were done later on, because those vocals are definitely not live 1980's dodgy theatre soundboard signals! And no matter how great she was, I don't think Stephanie Lawrence could produce her own backing vocals on the spot. There's separate mixing credits for the tracks that got the most overhauled, like AC/DC and He Whistled At Me, etc, so those were probably all in studio as well. They also fade out as well,  so as much as Andy wants me to think this was all live I don't quite believe him!
EDIT:
The very particular phrasing makes it sound like there's two recordings, a live one and a studio one and this is the studio one. Strange!
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Post by chernjam on Sept 27, 2024 17:08:43 GMT
Well itâs a âtale old as timeâ as far as English language recordings being single/concept focussed and not what one hears in the theatre. The 1984 OLC sounded nothing like how the show sounded at the AV in the 1980âs and contained several single only arrangements. The 1987 USA one was full on concept and bore no resemblance to Broadway. The 1993 ânewâ London cast did bear resemblance to the 1990âs AV sound but was edited to oblivion and misses half the show. And now here we are in 2024. The Gods most definitely do not want us to have a complete English Starlight recording with the exact same theatre arrangements! If you can cope listening in German however Bochum has two complete recordings which are absolutely epic. 1989 which arrangements wise sounds like the 1980âs original AV. And 2013 which is my personal Starlight fave album of all time. The 25th anniversary version. Both sensational! I'm nowhere near a Starlight fan as you all are - its probably middle/lower rank in ALW scores for me, that there are songs that I enjoy but not as much as others. Which is why I was looking forward to a new recording, but unlike the Sunset Blvd single release that got me even more excited for that than I had before, this had the opposite effect. "Crazy" just sounded - awkward? I'm not even sure what word... On the "new" london recording of that in the 90s that was one of my favorite tracks for sure. Hydrogen - well, I listened to it last night and I have zero recall of it, so unmemorable for me. Will definitely stream it on Apple when it comes out to hear it in full and give it the benefit of the doubt. But must admit was disappointed after reading so much excitement on here about the show |
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Post by BurlyBeaR on Sept 27, 2024 19:40:23 GMT
I have to say itâs incredibly disappointing that no one from Troubadour Theatres or ALW Musicals has been in touch about the hideous treatment of their customer and our member Penny at a time of bereavement. Our member took out insurance on their tickets, her husband tragically became ill and passed away. The insurance company are using loopholes to avoid paying out. I have zero expectations of insurance companies to do the right thing but why ALW/Troubadour canât get involved and help with this is a mystery. More info here: theatreboard.co.uk/post/537981/thread |
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Post by ThereWillBeSun on Sept 27, 2024 20:20:42 GMT
I have to say itâs incredibly disappointing that no one from Troubadour Theatres or ALW Musicals has been in touch about the hideous treatment of their customer and our member Penny at a time of bereavement. Our member took out insurance on their tickets, her husband tragically became ill and passed away. The insurance company are using loopholes to avoid paying out. I have zero expectations of insurance companies to do the right thing but why ALW/Troubadour canât get involved and help with this is a mystery. More info here: theatreboard.co.uk/post/537981/threadThatâs absolutely abhorrent. Get STAR involved. Iâm speechless. |
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Post by ceebee on Sept 27, 2024 22:26:58 GMT
I have to say itâs incredibly disappointing that no one from Troubadour Theatres or ALW Musicals has been in touch about the hideous treatment of their customer and our member Penny at a time of bereavement. Our member took out insurance on their tickets, her husband tragically became ill and passed away. The insurance company are using loopholes to avoid paying out. I have zero expectations of insurance companies to do the right thing but why ALW/Troubadour canât get involved and help with this is a mystery. More info here: theatreboard.co.uk/post/537981/threadCome on people at ALW/Starlight/Troubadour - all the social media plugs, reels, track releases count for little when you can't support a grieving customer with a legitimate claim on their ticket insurance. |
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Post by Dr Tom on Sept 27, 2024 23:07:06 GMT
Just seen that Asher is on as Electra this weekend, so Iâm flying back to the UKâŠ
(I was already flying back to the UK, but certainly wonât extend my trip now)
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Post by chernjam on Sept 28, 2024 0:03:02 GMT
I have to say itâs incredibly disappointing that no one from Troubadour Theatres or ALW Musicals has been in touch about the hideous treatment of their customer and our member Penny at a time of bereavement. Our member took out insurance on their tickets, her husband tragically became ill and passed away. The insurance company are using loopholes to avoid paying out. I have zero expectations of insurance companies to do the right thing but why ALW/Troubadour canât get involved and help with this is a mystery. More info here: theatreboard.co.uk/post/537981/threadwow - this is absolutely atrocious... |
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Post by Phantom of London on Sept 28, 2024 0:39:11 GMT
If what happened to Penny is the gold standard why buying insurance is for, then what is?
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Post by littlefluffychick on Sept 29, 2024 0:17:51 GMT
Got back from yet another enjoyable evening at Starlight. The cast skating and singing has hugely improved since the show opened. It seems effortless now. The show is perfect for a fun, pick-me up, slightly crazy night out.
Asher was on as understudy Electra tonight and I thought he was great. Different to Tomâs Electra (which is epic), but in a good way. He got accidentally tripped up by third cover Hydrogen at one point and went flying to the floor, A over T. He managed to style it out though, pro that he is. Youâve got to love live theatre!
Loads of swings on tonight, I think I counted 6 so not sure if thereâs lots of cast illness or holidays. They do such a good job, itâs incredible to think they all know so many different tracks. Iâll definitely be back soon, this is one if my favourites.
Also really impressed with Ashlyn, understudy Pearl who was on tonight, sheâs got a fantastic voice that blends really well with Javeenâs Rusty. Javeen works his ass off every show and is so consistent vocally, what a talent he is. Also shout out to Al who plays Greaseball, loving her performance too - can you tell I like this show? đ
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Post by soosiesoo on Sept 29, 2024 10:39:15 GMT
Hello, Iâm a long time lurker, registered to tell you I saw starlight Express yesterday afternoon and the show was stopped about 10 minutes from the end because there was a fire on stage. A pyrotechnic âdidnât want to stopâ according to the stage manager.
It was quite impressive how the staff managed the situation, the first thing I noticed after the cast left the stage and the lights came up was a number of staff members pulling out hi-viz jackets from hidden cupboards in each seating area and pull them on.
Most of the audience were good natured. There were only about 6 people who kicked off and got stroppy.
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Post by unseaworthy on Sept 29, 2024 12:27:57 GMT
Hello, Iâm a long time lurker, registered to tell you I saw starlight Express yesterday afternoon and the show was stopped about 10 minutes from the end because there was a fire on stage. A pyrotechnic âdidnât want to stopâ according to the stage manager. It was quite impressive how the staff managed the situation, the first thing I noticed after the cast left the stage and the lights came up was a number of staff members pulling out hi-viz jackets from hidden cupboards in each seating area and pull them on. Most of the audience were good natured. There were only about 6 people who kicked off and got stroppy. Sounds very dramatic! Did you get to see the last ten mins of the show? |
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Post by soosiesoo on Sept 29, 2024 13:34:33 GMT
We did, yes. It was fabulous.
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Post by Dr Tom on Sept 29, 2024 20:56:40 GMT
Yes, we had "fire on the track" for the matinee yesterday, right after the "converted to steam" section. I think some people were a bit annoyed as the show had already started late, and this is still advertised as running for 2 hours including the interval, which has never been the case. I did see people leave, but presumably they had travel arrangements booked. The actual fire was handled well.
I was very fortunate to make it, as my plane decided to keep circling Heathrow, and I only just made it off the plane and through passport control in time to check for rush tickets (it took a few goes, but I got one of my favourite seats in Carriage 1). This also gave me an excuse not to go to bed and to try and get my body clock back on UK time. It was also interesting to hear the usher discussing which sections were the most scary to work in (not because of the audience, but because there are a few places where the actors apparently do their best to creep up on the ushers). Also, I hadn't realised that the actors have two earpieces. One is the click-track, in lieu of being able to see the conductor. The other is for instructions from the stage manager. That's a lot to follow along with skating, singing etc.
About half the cast weren't in their usual roles. David Peter-Brown was promoted to Hydra and good to see him having a role with more to do than Golden Eagle. He skates a bit slower than Jaydon and Gary, but did very well considering as 3rd cover he won't have had much rehearsal time and might never have got to go on. Asher did well as Electra too, even if he somehow wasn't the campest person in the cast. You also got the nice visual of Pablo and Asher together. Jeevan is totally cute and charming. Ashlyn is always excellent as Pearl, and I regret that I didn't manage to get a rush ticket today, as she would have been on with Scott as Rusty. Harrison did his usual fun extra flips and spins, but I'm curious what the big crashing noise was as he left the stage behind me. One of the Marshalls has shaved his beard and looks much better for it.
Jade Marvin as Momma is now the only actor I've seen at every performance I've been to. She also doesn't get enough recognition for how good she is in the role. We also had my favourite Control yesterday. What's not to like?
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Post by soosiesoo on Sept 30, 2024 21:05:37 GMT
Two people who were sat very near me were very angry, the ended up storming out not long before it re-started. Not sure where you were sat but one of Electraâs carriages fell over quite dramatically, that might have been the crash you heard.
Edit to add I see you were in Platform 1, same as me though I was on the back row of platform 1 and could see the crash which happened at the rear of platform 2.
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Post by Dr Tom on Sept 30, 2024 21:22:06 GMT
Two people who were sat very near me were very angry, the ended up storming out not long before it re-started. Not sure where you were sat but one of Electraâs carriages fell over quite dramatically, that might have been the crash you heard. Edit to add I see you were in Platform 1, same as me though I was on the back row of platform 1 and could see the crash which happened at the rear of platform 2. I was in Carriage 1, rather than Platform 1, row DD. I would have had the bang behind me. Even the usher turned to look. But perhaps there were multiple bangs. I did also hear someone at the front of Trackside 1 being given a food ban as they (or their children) were dropping it down onto the skating area. Funnily enough, I walked past the back row of Carriage 1 and it was a total mess of food, rubbish and popcorn. Reminded me of when I last saw The Lion King. |
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Post by andypandy on Oct 1, 2024 0:37:39 GMT
I saw this finally at the weekendâŠ..
There are some SUPERB additions and directorial choices which I loved; a new character/train called Hydrogen, the voice of âcontrolâ is now played by an energetic young boy (instead of a simple recorded voice), there is a now revolve on stage thatâs utilised extremely well, race marshals now use scooters to perform excellent stunts, wacky giant inflatables feature and I loved that Electraâs wheels lit upâŠ
Positives asideâŠ.. the Troubadour Theatre is only a temporary space and the show no longer has that grand mega musical feel. This production sadly lacked the iconic Starlight hydraulic bridge, the multiple high levels, giant bowls or tunnels skaters whizzed through - and there is no moving hydraulic platforms or giant tilting see-saw ramp that performers skated up and down. Magnificent lighting aside - it visually felt a little static and the lack of these epic design features and scale made the races slow and less dynamic to watch.
My main criticism of this latest production however was that Andrew Lloyd Webber and Co added new songs but at the same time REPLACED some of the showâs best numbers and goosebump moments. Engine of Love, Only He, Thereâs Me, Lotta Locomotion, Right Place Right Time. Girlâs Rolling Stock, Next Time You Fall in Love, Only You and so many of the catchy incidental musical scenes with ear worm melodies have ALL BEEN CUT.
Poppa is now recast to be âMommaâ - it doesnât work and the alto to tenor musical mix now means there are keys changes everywhere. Such gender bending equality wasnât needed here - the show was always magnificently inclusive. The characters Buffy, Ashley, Dustin, Caboose are all CUT, the alpha American train Greaseball is now played by a female. It doesnât work either - the keys are now too high, the whole point of the toxic masculinity is that Rusty challenges and competes against this and I think itâs offensive to stereotype lesbians as diesel dykes with mullets who pump iron).
I also disliked the fact that they have removed MOST of the shows intricate and exciting choreography, none of the costumes now look like actual TRAINS (more like weird spacey transformers)⊠and many of the characters all looked the same. The whole design, feel and concept of this new 2024 show is less train themed and oddly more futuristic/sci fi with large planets that pop down from the ceiling. I thought it just looked odd - less train tracks and choo choo and more galactic odessy. The show is not meant to be set in space!
Iâm glad I saw this new production - but I so wish they had kept the magic of the previous shows. Being contemporary, subversive and adding new woke/gender bending roles, new songs and making a show up to date is fine - BUT, donât mix up the concept, storytelling or take away the magic of what worked in the first place. The cast were extremely talented and the lighting/fire/new effects were excellent but itâs a cool 7/10 from me (or 3 stars)
(
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Post by blaxx on Oct 1, 2024 7:32:07 GMT
I saw this finally at the weekendâŠ.. There are some SUPERB additions and directorial choices which I loved; a new character/train called Hydrogen, the voice of âcontrolâ is now played by an energetic young boy (instead of a simple recorded voice), there is a now revolve on stage thatâs utilised extremely well, race marshals now use scooters to perform excellent stunts, wacky giant inflatables feature and I loved that Electraâs wheels lit up⊠Positives asideâŠ.. the Troubadour Theatre is only a temporary space and the show no longer has that grand mega musical feel. This production sadly lacked the iconic Starlight hydraulic bridge, the multiple high levels, giant bowls or tunnels skaters whizzed through - and there is no moving hydraulic platforms or giant tilting see-saw ramp that performers skated up and down. Magnificent lighting aside - it visually felt a little static and the lack of these epic design features and scale made the races slow and less dynamic to watch. My main criticism of this latest production however was that Andrew Lloyd Webber and Co added new songs but at the same time REPLACED some of the showâs best numbers and goosebump moments. Engine of Love, Only He, Thereâs Me, Lotta Locomotion, Right Place Right Time. Girlâs Rolling Stock, Next Time You Fall in Love, Only You and so many of the catchy incidental musical scenes with ear worm melodies have ALL BEEN CUT. Poppa is now recast to be âMommaâ - it doesnât work and the alto to tenor musical mix now means there are keys changes everywhere. Such gender bending equality wasnât needed here - the show was always magnificently inclusive. The characters Buffy, Ashley, Dustin, Caboose are all CUT, the alpha American train Greaseball is now played by a female. It doesnât work either - the keys are now too high, the whole point of the toxic masculinity is that Rusty challenges and competes against this and I think itâs offensive to stereotype lesbians as diesel dykes with mullets who pump iron). I also disliked the fact that they have removed MOST of the shows intricate and exciting choreography, none of the costumes now look like actual TRAINS (more like weird spacey transformers)⊠and many of the characters all looked the same. The whole design, feel and concept of this new 2024 show is less train themed and oddly more futuristic/sci fi with large planets that pop down from the ceiling. I thought it just looked odd - less train tracks and choo choo and more galactic odessy. The show is not meant to be set in space! Iâm glad I saw this new production - but I so wish they had kept the magic of the previous shows. Being contemporary, subversive and adding new woke/gender bending roles, new songs and making a show up to date is fine - BUT, donât mix up the concept, storytelling or take away the magic of what worked in the first place. The cast were extremely talented and the lighting/fire/new effects were excellent but itâs a cool 7/10 from me (or 3 stars) ( Only You / I am the Starlight has been cut?  |
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Post by blamerobots on Oct 1, 2024 8:43:59 GMT
Only You / I am the Starlight has been cut? Only You (the duet) and Only He (the solo) are cut and replaced basically with I Do, I am the Starlight is still in however in the "Starlight Sequence" (a melding of a bunch of versions of the song.) |
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Post by andypandy on Oct 1, 2024 8:48:36 GMT
I saw this finally at the weekendâŠ.. There are some SUPERB additions and directorial choices which I loved; a new character/train called Hydrogen, the voice of âcontrolâ is now played by an energetic young boy (instead of a simple recorded voice), there is a now revolve on stage thatâs utilised extremely well, race marshals now use scooters to perform excellent stunts, wacky giant inflatables feature and I loved that Electraâs wheels lit up⊠Positives asideâŠ.. the Troubadour Theatre is only a temporary space and the show no longer has that grand mega musical feel. This production sadly lacked the iconic Starlight hydraulic bridge, the multiple high levels, giant bowls or tunnels skaters whizzed through - and there is no moving hydraulic platforms or giant tilting see-saw ramp that performers skated up and down. Magnificent lighting aside - it visually felt a little static and the lack of these epic design features and scale made the races slow and less dynamic to watch. My main criticism of this latest production however was that Andrew Lloyd Webber and Co added new songs but at the same time REPLACED some of the showâs best numbers and goosebump moments. Engine of Love, Only He, Thereâs Me, Lotta Locomotion, Right Place Right Time. Girlâs Rolling Stock, Next Time You Fall in Love, Only You and so many of the catchy incidental musical scenes with ear worm melodies have ALL BEEN CUT. Poppa is now recast to be âMommaâ - it doesnât work and the alto to tenor musical mix now means there are keys changes everywhere. Such gender bending equality wasnât needed here - the show was always magnificently inclusive. The characters Buffy, Ashley, Dustin, Caboose are all CUT, the alpha American train Greaseball is now played by a female. It doesnât work either - the keys are now too high, the whole point of the toxic masculinity is that Rusty challenges and competes against this and I think itâs offensive to stereotype lesbians as diesel dykes with mullets who pump iron). I also disliked the fact that they have removed MOST of the shows intricate and exciting choreography, none of the costumes now look like actual TRAINS (more like weird spacey transformers)⊠and many of the characters all looked the same. The whole design, feel and concept of this new 2024 show is less train themed and oddly more futuristic/sci fi with large planets that pop down from the ceiling. I thought it just looked odd - less train tracks and choo choo and more galactic odessy. The show is not meant to be set in space! Iâm glad I saw this new production - but I so wish they had kept the magic of the previous shows. Being contemporary, subversive and adding new woke/gender bending roles, new songs and making a show up to date is fine - BUT, donât mix up the concept, storytelling or take away the magic of what worked in the first place. The cast were extremely talented and the lighting/fire/new effects were excellent but itâs a cool 7/10 from me (or 3 stars) ( Only You / I am the Starlight has been cut? If you mean Starlight Sequence / I am the Starlight with Rusty and Mamma - that is still there. The full "Only He/Only You" full duet with Rusty and Pearl - has been cut. The latter was replaced in the 90's by Next Time you Fall in Love in the early 90's and then that was replaced my "I do" in the late noughties. |
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Post by BVM on Oct 1, 2024 11:20:56 GMT
I saw this finally at the weekendâŠ.. There are some SUPERB additions and directorial choices which I loved; a new character/train called Hydrogen, the voice of âcontrolâ is now played by an energetic young boy (instead of a simple recorded voice), there is a now revolve on stage thatâs utilised extremely well, race marshals now use scooters to perform excellent stunts, wacky giant inflatables feature and I loved that Electraâs wheels lit up⊠Positives asideâŠ.. the Troubadour Theatre is only a temporary space and the show no longer has that grand mega musical feel. This production sadly lacked the iconic Starlight hydraulic bridge, the multiple high levels, giant bowls or tunnels skaters whizzed through - and there is no moving hydraulic platforms or giant tilting see-saw ramp that performers skated up and down. Magnificent lighting aside - it visually felt a little static and the lack of these epic design features and scale made the races slow and less dynamic to watch. My main criticism of this latest production however was that Andrew Lloyd Webber and Co added new songs but at the same time REPLACED some of the showâs best numbers and goosebump moments. Engine of Love, Only He, Thereâs Me, Lotta Locomotion, Right Place Right Time. Girlâs Rolling Stock, Next Time You Fall in Love, Only You and so many of the catchy incidental musical scenes with ear worm melodies have ALL BEEN CUT. Poppa is now recast to be âMommaâ - it doesnât work and the alto to tenor musical mix now means there are keys changes everywhere. Such gender bending equality wasnât needed here - the show was always magnificently inclusive. The characters Buffy, Ashley, Dustin, Caboose are all CUT, the alpha American train Greaseball is now played by a female. It doesnât work either - the keys are now too high, the whole point of the toxic masculinity is that Rusty challenges and competes against this and I think itâs offensive to stereotype lesbians as diesel dykes with mullets who pump iron). I also disliked the fact that they have removed MOST of the shows intricate and exciting choreography, none of the costumes now look like actual TRAINS (more like weird spacey transformers)⊠and many of the characters all looked the same. The whole design, feel and concept of this new 2024 show is less train themed and oddly more futuristic/sci fi with large planets that pop down from the ceiling. I thought it just looked odd - less train tracks and choo choo and more galactic odessy. The show is not meant to be set in space! Iâm glad I saw this new production - but I so wish they had kept the magic of the previous shows. Being contemporary, subversive and adding new woke/gender bending roles, new songs and making a show up to date is fine - BUT, donât mix up the concept, storytelling or take away the magic of what worked in the first place. The cast were extremely talented and the lighting/fire/new effects were excellent but itâs a cool 7/10 from me (or 3 stars) ( I also very much felt this at the start. The original design is SO iconic. And my God I miss it. But realistically, it was never gonna be that kind of thing this time round..... The song changes I don't mind as I am so used to it over the years and musically this version was ultimately only minimally changed from The Other Palace/Bochum 30th most recent versions. |
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Post by erik24601 on Oct 1, 2024 15:10:32 GMT
I still canât get over how bad âCrazyâ is on the cast recording.
Why didnât he focus on putting some life into the performance instead of all the (very stepped) vocal acrobatics?
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Post by Being Alive on Oct 1, 2024 15:19:15 GMT
I still canât get over how bad âCrazyâ is on the cast recording. Why didnât he focus on putting some life into the performance instead of all the (very stepped) vocal acrobatics? I mean...this is what it sounds like in the show? |
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