4,021 posts
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Post by Dawnstar on Aug 14, 2023 14:37:35 GMT
I'm very pleased to see there aren't any actors I particularly like in the cast, in fact there are only a few actors I've even heard of, so I can happily not go & see this.
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8,103 posts
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Post by alece10 on Aug 14, 2023 14:48:08 GMT
I take it the orchestra we hear on the clip is not the same as we will get in the show as this one sounds massive.
Has anyone googled the cast to see if they play any musical instruments? Just in case it's going to be an actor/musician musical.
And, as my mum would say, her face looks like a slapped ass!
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114 posts
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Post by rosscoe on Aug 14, 2023 15:05:22 GMT
That pre release clip leaves a lot to be desired.
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Post by A.Ham on Aug 14, 2023 15:13:48 GMT
I take it the orchestra we hear on the clip is not the same as we will get in the show as this one sounds massive. Has anyone googled the cast to see if they play any musical instruments? Just in case it's going to be an actor/musician musical. And, as my mum would say, her face looks like a slapped ass! I think the music is taken from the ALW Symphonic Suites album, hence the ‘full orchestra’ sound. |
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Post by sph on Aug 14, 2023 15:14:04 GMT
Notice the credits of "camera operator"s in the cast? Are we going to have live filming onstage a la "All About Eve" (Ivo Van Hove version)!? Oh God, that was the worst part of All About Eve, besides how ugly the design of the production was. Cameras to give extra exposure in a play that is intrinsically about the inner workings of... Theatre? At least in Sunset it would sort of make sense. |
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315 posts
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Post by westended on Aug 14, 2023 15:20:54 GMT
A 17-Piece Orchestra is being used in this production
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Post by SuttonPeron on Aug 14, 2023 15:30:43 GMT
17´s the minimum size you need for this show, but glad they´ve not reduced it or prerecorded anything.
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Post by A.Ham on Aug 14, 2023 15:48:09 GMT
Surprised 17 is the minimum, as by current standards that’ll make it one of the biggest orchestras in the West End won’t it?
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8,103 posts
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Post by alece10 on Aug 14, 2023 15:58:27 GMT
Surprised 17 is the minimum, as by current standards that’ll make it one of the biggest orchestras in the West End won’t it? I believe Crazy For You currently has 17 and that's considered big so yes it eill be one of the biggest. |
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Post by SuttonPeron on Aug 14, 2023 15:59:31 GMT
It´ll be the largest, but tied with Wicked and Lion King (also 17). Crazy for you´s 16, so second place. Hopefully the Sondheim´s Old Friends orchestra is bigger.
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Post by A.Ham on Aug 14, 2023 18:02:33 GMT
I’m sure with 17 it’ll sound great but I’ll have to try and erase my memories of the overture at the Coliseum before I go in!
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Post by toomasj on Aug 14, 2023 18:26:21 GMT
Surprised by the positivity off the back of the casting and promo teaser, if anything this has confirmed my fears.
I suppose it really depends on what one is expecting from this production. I’ve seen numerous am dram versions, the Watermill production at the then Comedy Theatre, the 2001 UK tour with Faith Brown and Earl Carpenter and Glenn Close/Michael Xavier in the semi-staged show at the ENO.
I am not trying to Pooh-Pooh anybody’s excitement - especially those who paid big money to attend - but what is it exactly that is appealing about this?
In his entire professional career, Jamie Lloyd (Director) has never directed a lavish show with huge sets, huge orchestra. His style is gritty and focused on performance. Which is why it’s bizarre that he should be opening this particular show in the West End. Unless of course, this is a fantastic opportunity to put on a very “producer friendly” (cheap) production before rights transfer.
The work I enjoyed most from Jamie Lloyd was “Piaf” at the Donmar/West End, which was designed to be stark and broadly realised. It was brilliant because he was working to his strengths. Every other show of his I’ve seen, I fear, he has put the story and context second to his own directorial style. He has disrespected material to further his own “trademark production style”.
This will be exactly as those who are familiar with Lloyd are expecting. Minimal sets. Barefoot. Projections/video. Black box. Minimalism. Admirers will say you don’t “get it” - you’re not up with the times. Well how about those of us who remember gorgeous sets, big orchestras AND inventive direction?
The promo video is the final blow for me, in that it has confirmed a general disregard for the piece, and a focus on gimmickry. “Reimagine” all you want Jamie, in the same identikit way you have “reimagined” every previous production, so they look identical to the previous one, but I won’t pay for this.
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Post by c4ndyc4ne on Aug 14, 2023 19:26:20 GMT
I've now heard some talk about the production, apparently the budget is quite big which is little strange considering the casting doesn't truly reflect that. Nicole is well known but not to the extent where her salary would be considerable. In terms of set, there is some water/pool element on stage in addition to the already announced camera/video aspects. Perhaps they'll surprise us all? very intrigued! as someone willing to untether any prior knowledge of previous versions and just assess the show by what is staged this time around, count me excited. |
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910 posts
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Post by karloscar on Aug 14, 2023 22:21:08 GMT
True, but this makes no sense as in every version, she speaks/sings with a perfect early Hollywood Transatlantic accent. Mid Atlantic accent. I don’t think she didn’t transition to talkies is simply they stopped making her kinda movies anymore. Myrna Loy and Claudette Colbert both started out playing melodramatic vamps in the twenties, but successfully made the transition to comedies and drama once the silent era was over and had long careers.That's what Norma failed to do, and she's still stuck trying to play Salome twenty years later. |
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Post by danb on Aug 16, 2023 16:50:33 GMT
Still cant get over the fact that we nearly had Cher as Norma. She auditioned in full costume and everything... Unfortunately a deal couldn't be struck. For this production? |
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609 posts
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Post by chernjam on Aug 16, 2023 17:50:33 GMT
Still cant get over the fact that we nearly had Cher as Norma. She auditioned in full costume and everything... Unfortunately a deal couldn't be struck. For this production? No as a replacement for the original production back in the 90's - I think as the first replacement for Glenn Close in NY |
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Post by danb on Aug 16, 2023 18:30:25 GMT
Was gonna say…I think she’d be great if they ever film it but I’m not sure that it’d be a comfortable listen.
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5,812 posts
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Post by mrbarnaby on Aug 16, 2023 19:52:22 GMT
I've now heard some talk about the production, apparently the budget is quite big which is little strange considering the casting doesn't truly reflect that. Nicole is well known but not to the extent where her salary would be considerable. In terms of set, there is some water/pool element on stage in addition to the already announced camera/video aspects. Perhaps they'll surprise us all? There is NO set. So not sure you should be expecting a pool 🤣 |
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Post by sistergeorge on Aug 16, 2023 22:41:47 GMT
I've now heard some talk about the production, apparently the budget is quite big which is little strange considering the casting doesn't truly reflect that. Nicole is well known but not to the extent where her salary would be considerable. In terms of set, there is some water/pool element on stage in addition to the already announced camera/video aspects. Perhaps they'll surprise us all? There is NO set. So not sure you should be expecting a pool 🤣 I'm on the fence about buying tix for this production. I'm in London in late November for only 7 days and my theatre slots have filled up pretty quickly. I've seen the fully staged original twice (Buckley and Close) and a concert version (Stephanie J. Block) a few months ago. Has it been an official announcement that there will be no sets or is this speculation because of Lloyd's past work? |
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1,281 posts
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Post by theatrefan77 on Aug 16, 2023 23:13:41 GMT
Decided not to buy in advance because I'm not convinced I will enjoy this production. Will wait for the reviews and word of mouth.
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Post by klima on Aug 17, 2023 7:00:42 GMT
The thing that grates me about Lloyd's productions is that most of the time, he's not creating an experience for the entire auditorium. The actors always have mics, so sound might not be the issue, but the pared back, less stage acting and more screen acting mode of performance only really works when people are close up. I've seen a couple of his shows from different areas, and the difference is stark.
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1,102 posts
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Post by zak97 on Aug 17, 2023 7:32:16 GMT
There is still a warning on ATG for seats at the back of the dress circle for restricted view of elevated scenes
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1,396 posts
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Post by BVM on Aug 17, 2023 15:37:27 GMT
Surprised by the positivity off the back of the casting and promo teaser, if anything this has confirmed my fears. I suppose it really depends on what one is expecting from this production. I’ve seen numerous am dram versions, the Watermill production at the then Comedy Theatre, the 2001 UK tour with Faith Brown and Earl Carpenter and Glenn Close/Michael Xavier in the semi-staged show at the ENO. I am not trying to Pooh-Pooh anybody’s excitement - especially those who paid big money to attend - but what is it exactly that is appealing about this?
In his entire professional career, Jamie Lloyd (Director) has never directed a lavish show with huge sets, huge orchestra. His style is gritty and focused on performance. Which is why it’s bizarre that he should be opening this particular show in the West End. Unless of course, this is a fantastic opportunity to put on a very “producer friendly” (cheap) production before rights transfer. The work I enjoyed most from Jamie Lloyd was “Piaf” at the Donmar/West End, which was designed to be stark and broadly realised. It was brilliant because he was working to his strengths. Every other show of his I’ve seen, I fear, he has put the story and context second to his own directorial style. He has disrespected material to further his own “trademark production style”. This will be exactly as those who are familiar with Lloyd are expecting. Minimal sets. Barefoot. Projections/video. Black box. Minimalism. Admirers will say you don’t “get it” - you’re not up with the times. Well how about those of us who remember gorgeous sets, big orchestras AND inventive direction? The promo video is the final blow for me, in that it has confirmed a general disregard for the piece, and a focus on gimmickry. “Reimagine” all you want Jamie, in the same identikit way you have “reimagined” every previous production, so they look identical to the previous one, but I won’t pay for this. Don't think anyone thinks you're trying to pooh-pooh anyone's excitement! There are some people who pop up constantly on ALW musicals threads and just slag everything off whatever. Which is a shame but such is life on an internet forum. Anyway it has such clear biases to be rendered meaningless. You have always explained yourself well though and given good reasons for things. And a discussion board is for, well, discussion. But, since you ask the question what is appealing about this, thought I'd answer. My personal views only. But these are the reasons I am excited. - I had never heard of Jamie Lloyd before Evita and that is the only show of his I've seen. As this is another ALW musical for me that is the best comparison. Evita did not have the long list of things people seem not to like in Lloyd's work. And far from being minimalist was one of the more lavish things I've seen at OAT. Amazing use of colour, fantastic lighting rig, confetti, balloons, streamers etc etc. And it had an imagery that lead me to getting something new out of a show I know backwards. Which I really didn't think was possible. While doing this, it also preserved the ALW/Cullen orchestration and most of the Grandage style musical direction. - Leads me on to music. I know I am in the minority but if a score is a) to my taste b) fantastically orchestrated and c) sung the hell out of with powerful and accurate MT voices, then I can forgive (almost) anything else in a production. I love love love the music - I can get more emotion from it sung perfectly by a mediocre actor than vice versa. If those musical elements aren't there I often struggle to appreciate things no matter how great other parts are. ALW is involved and there is no way he'd let this score sound bad. In 50 odd years there has never been a production of an ALW musical that he had musical creative input that was not good. (He should have insisted on new Aspects using his/Cullen's orchestrations IMHO). All his shows where he is not directly involved in the music sound worse. And the cast can all SING (repeated ad infinitum I know I know, but a Glenn style vocal was not for me). I know people have opinions on Nicole, but her Memory in Cats was utterly breathtaking I thought. And she's so bonkers herself that A version of Norma Desmond (perhaps not the previous and well known version) I think is well within her grasp. Tom Francis was sensational in Rent. Thaxton has been incredible in everything I've seen him in. - I was a child of the mega musicals and I have found in the noughties, 10s and 20s nothing ever comes close. Sadly, they are never coming back (much as I'd love to see the Apollo Victoria ripped apart again for a gigantic metal bridge and tracks). I've found however that I often prefer total reinventions to "the same but smaller." Again just my preference. I hate cheapish wobbly Kenwright sets. If it's not gonna be mega, I'd prefer it clever, conceptual, completely different. Miss Saigon in Sheffield utterly achieved this and this gives me hope Sunset may do similar. ENO and Curve tour I enjoyed but I just sat there thinking - well, it's not the epic Napier set. Kenwright Evita tour I just missed the Grandage/Prince vision. OAT I did not - didn't even think about it. So am all for something totally different for the mega musicals in the 20s! - Personal taste (again lol) but I love the bold colour blocking and choices for the design/advertising that we've seen so far. I also love the camp of the Scherzinger faces in front of the broken glass. No idea what they are going for but I like it! Anyway - just my opinion. Sorry, bit boring as know I have said all these things many times on this forum. But that's why I am excited about this production :-) On paper it ticks all my boxes so far.... All with a pinch of salt. Thought I'd love Aspects and I was underwhelmed. Thought I'd be underwhelmed by Miss Saigon and it was next level epic. But am thinking (and hoping) third time right! |
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