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Post by A.Ham on Oct 6, 2023 21:11:13 GMT
I have a question, as this show was totally new to me I don’t know the answer, why were the studio interested in her car? I think it was just that she had a nice vintage car, and a particular studio exec took a shine to it and wanted to buy it from her, that’s all My understanding has always been that they wanted to hire/borrow the car to use it in a film, because it was a vintage car unavailable now (‘now’ being 1950ish, so it must’ve been from the 30s or 40s). |
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Post by mattnyc on Oct 6, 2023 21:50:48 GMT
Correct. A director at working on the Paramount lot saw her car when Max drove the script over to DeMille and wanted to use it in the film he was making.
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Post by steve10086 on Oct 6, 2023 22:26:27 GMT
Scherzinger is by far the weakest link in this production. She sings like someone who has been “trained” how to hold a note, but has no idea how to put emotion into it. The long note is AIWNSG was soooooooooooo bland! Her mouth keeps contorting into the shapes I can only assume her singing instructor showed her to make. It doesn’t seem natural at all.
And the ridiculousness of Salome! Totally cheapened the character.
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Post by sf on Oct 7, 2023 1:38:58 GMT
Saw it this evening.
It's a very, very stylised production, and everybody has been directed to give very, very stylised performances, to the point where it sometimes feels like every line reading has been drilled (you know, rather like watching English-speaking performers who learned their roles phonetically in a German-language production of a British or American musical in Vienna or Hamburg). It's visually arresting and the singing is excellent. Lloyd obviously has a lot of ideas about the blurring of reality and fantasy, people who live their lives through a camera, ageism in Hollywood, and the blurring of reality and entertainment, but the production, overall, is intellectually sloppy and sometimes a bit too knowingly self-referential, particularly during the title song (which is a technical tour-de-force).
I think it's a very brave thing for Ms. Scherzinger to have taken on, and she does everything that is asked of her very well - but I'm not absolutely sure that the way she's been asked to play the role within this very stylised framework completely works. Her final speech - the "mad scene" - is just about the only thing in the show that sounds spontaneous rather than rehearsed, and I think that's a deliberate choice; that speech is very good.
The cut material was not missed.
The orchestra needs more strings. There's a certain sound you can only get with a bigger string section, and this score is full of it.
Overall - it's very entertaining, it is absolutely worth seeing, it offers a fascinating take on the material... and it's one of those productions where you maybe shouldn't try to think too hard about what the director is trying to say about the material, because his choices don't quite add up.
I would be very interested to go back and see it on a night Rachel Tucker is on. And I might.
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Post by holbee22 on Oct 7, 2023 4:49:07 GMT
Nicole is amazing. And daring. I'm not sure I'd love her in anything else, but for this concept, she is perfect. As it's not your daddy's Sunset Boulevard.
Possible spoilers.
Presentational, set in no real time period, no set, no props except a weird-ass movie camera (I have never seen video used so well onstage) thrilling choreography, a gorgeous young cast (apparently he made a point of casting the entire ensemble with kids right out of drama school). This is a Norma who is surrounded by youth, youth that probably believes 40 is old and ugly unless you act like Kim Kardashian. Even then. Sung so extremely well, with an exceptional orchestra (those gorgeous Lloyd-Webber orchestrations in full). Cheers and cheers and standing ovations mid-show, it was why I go to the theatre.
Having said that, my friend did not love it. He loves the original enough to have seen every West End Norma (there were a lot). I had never shared his opinion of the show..
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Post by toomasj on Oct 7, 2023 5:55:09 GMT
Thinking about it, with all the eyes here and elsewhere in the heart of central London, it’s quite surprising that nobody witnessed the literal days of tech rehearsals that nobody saw the tech rehearsals for the outside segment.
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Post by mrbarnaby on Oct 7, 2023 8:01:03 GMT
Nicole is amazing. And daring. I'm not sure I'd love her in anything else, but for this concept, she is perfect. As it's not your daddy's Sunset Boulevard. Possible spoilers. Presentational, set in no real time period, no set, no props except a weird-ass movie camera (I have never seen video used so well onstage) thrilling choreography, a gorgeous young cast (apparently he made a point of casting the entire ensemble with kids right out of drama school). This is a Norma who is surrounded by youth, youth that probably believes 40 is old and ugly unless you act like Kim Kardashian. Even then. Sung so extremely well, with an exceptional orchestra (those gorgeous Lloyd-Webber orchestrations in full). Cheers and cheers and standing ovations mid-show, it was why I go to the theatre. Having said that, my friend did not love it. He loves the original enough to have seen every West End Norma (there were a lot). I had never shared his opinion of the show.. That’s not true re the ensemble. There are many in there who have done numerous west end shows before. |
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Post by Mark on Oct 7, 2023 11:16:51 GMT
Spoiler for the title number below |
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Post by alece10 on Oct 7, 2023 11:17:16 GMT
Hopefully this works. But just seen footage of Act 2 opening to prove its live. Its fscinating I've watched it about 10 times already.
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Post by BVM on Oct 7, 2023 11:41:05 GMT
Hopefully this works. But just seen footage of Act 2 opening to prove its live. Its fscinating I've watched it about 10 times already. I just find it incredible! Both in execution and having a mind so creative to thinking it up in the first place! |
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Post by stuart on Oct 7, 2023 11:55:07 GMT
Cancelled my Guys & Dolls ticket for Tuesday (didn’t fancy a standing crowd in the forecasted heat) and plumped for this instead based off the reviews so far.
I saw Jamie Lloyd’s Cyrano twice so I know what to expect. The whole concept and what I’ve heard so far intrigues me though.
Can’t wait!
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Post by mrbarnaby on Oct 7, 2023 11:59:23 GMT
Well this was pretty extraordinary.
I don’t think I’ve ever seen better lighting or heard a better sounding Orchestra in my theatregoing life. The sound design is quite extraordinary , the singing (from everybody) off the scale wondrous.
What Tom Francis lacks in facial expressions, he more than makes up for it with stage presence and his brilliant voice. What a find.
Nicole S sounds incredible, and by the end acts the hell out of it. I know that Rachel Tucker is great- but so much of the thrill here relies on NS’s star power. She knows how to hold an entire audience (and one’s much bigger than this) in the palm of her hand, and boy can she let rip when she wants to. I wouldn’t be engraving that Olivier for Cassie just yet…
Wonderful support from Grace as Betty. Gorgeous voice, a star is born.
The much discussed opening for Act 2 does not disappoint. A technical marvel. I found the audience was rapt in the whole show and I didn’t notice any bad behaviour - other than a few too many photos being taken during a couple of moments, but no ushers seemed that bothered.
For a Jamie Lloyd show there was a surprising amount of humour in it, and throughout moments to disconnect you from the characters like NS going all Yass Queen whenever she could.
This deserves to become THE hot sell out ticket in town for its relatively short run. An unequivocal 5 star show for me.
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Post by BVM on Oct 7, 2023 12:15:05 GMT
Well this was pretty extraordinary. I don’t think I’ve ever seen better lighting or heard a better sounding Orchestra in my theatregoing life. The sound design is quite extraordinary , the singing (from everybody) off the scale wondrous. What Tom Francis lacks in facial expressions, he more than makes up for it with stage presence and his brilliant voice. What a find. Nicole S sounds incredible, and by the end acts the hell out of it. I know that Rachel Tucker is great- but so much of the thrill here relies on NS’s star power. She knows how to hold an entire audience (and one’s much bigger than this) in the palm of her hand, and boy can she let rip when she wants to. I wouldn’t be engraving that Olivier for Cassie just yet… Wonderful support from Grace as Betty. Gorgeous voice, a star is born. The much discussed opening for Act 2 does not disappoint. A technical marvel. I found the audience was rapt in the whole show and I didn’t notice any bad behaviour - other than a few too many photos being taken during a couple of moments, but no ushers seemed that bothered. For a Jamie Lloyd show there was a surprising amount of humour in it, and throughout moments to disconnect you from the characters like NS going all Yass Queen whenever she could. This deserves to become THE hot sell out ticket in town for its relatively short run. An unequivocal 5 star show for me. Gosh - for once we are in 100% agreement! Completely agree the sound design and aural pleasure is possibly the most intensely wonderful I have ever experienced in a West End theatre. And have now sat in several places and (so far) it is the same everywhere. Lighting design is similarly epic. |
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Post by steve10086 on Oct 7, 2023 12:19:07 GMT
Really don’t get Nicole’s star power. Not for one second during the show could I believe she’d ever been “The Greatest Star Of All”. “The Biggest Slut Of All”… that I could easily believe. But not a star.
Dying to know how Rachel Tucker does this. If all the ridiculous Norma crap is stripped away then this production would be amazing.
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Post by ceebee on Oct 7, 2023 12:53:36 GMT
Hopefully this works. But just seen footage of Act 2 opening to prove its live. Its fscinating I've watched it about 10 times already. I did confirm it's all done live about a week ago (after discussing it with Nathan Amzi who does cinematography/cameras on the show). |
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Post by ceebee on Oct 7, 2023 12:54:30 GMT
Really don’t get Nicole’s star power. Not for one second during the show could I believe she’d ever been “The Greatest Star Of All”. “The Biggest Slut Of All”… that I could easily believe. But not a star. Dying to know how Rachel Tucker does this. If all the ridiculous Norma crap is stripped away then this production would be amazing. This production is amazing to very many people. |
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Post by ceebee on Oct 7, 2023 12:55:53 GMT
Well this was pretty extraordinary. I don’t think I’ve ever seen better lighting or heard a better sounding Orchestra in my theatregoing life. The sound design is quite extraordinary , the singing (from everybody) off the scale wondrous. What Tom Francis lacks in facial expressions, he more than makes up for it with stage presence and his brilliant voice. What a find. Nicole S sounds incredible, and by the end acts the hell out of it. I know that Rachel Tucker is great- but so much of the thrill here relies on NS’s star power. She knows how to hold an entire audience (and one’s much bigger than this) in the palm of her hand, and boy can she let rip when she wants to. I wouldn’t be engraving that Olivier for Cassie just yet… Wonderful support from Grace as Betty. Gorgeous voice, a star is born. The much discussed opening for Act 2 does not disappoint. A technical marvel. I found the audience was rapt in the whole show and I didn’t notice any bad behaviour - other than a few too many photos being taken during a couple of moments, but no ushers seemed that bothered. For a Jamie Lloyd show there was a surprising amount of humour in it, and throughout moments to disconnect you from the characters like NS going all Yass Queen whenever she could. This deserves to become THE hot sell out ticket in town for its relatively short run. An unequivocal 5 star show for me. Gosh - for once we are in 100% agreement! Completely agree the sound design and aural pleasure is possibly the most intensely wonderful I have ever experienced in a West End theatre. And have now sat in several places and (so far) it is the same everywhere. Lighting design is similarly epic. Agree - I've sat left/centre stalls, and centre/right dress circle. I will be in the gods on 17th but expect the sound to be great there too. |
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Post by steve10086 on Oct 7, 2023 12:59:35 GMT
Really don’t get Nicole’s star power. Not for one second during the show could I believe she’d ever been “The Greatest Star Of All”. “The Biggest Slut Of All”… that I could easily believe. But not a star. Dying to know how Rachel Tucker does this. If all the ridiculous Norma crap is stripped away then this production would be amazing. This production is amazing to very many people. Yeah, I heard all the finger snapping, cheering mid song etc… that’s great if you like X-Factor I guess. |
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Post by alexander on Oct 7, 2023 13:07:13 GMT
SPOILERS
These are my personal thoughts, not saying for a moment that what I’m saying is remotely correct as it’s very subjective:
Watched this a 2nd time last night. What a show. I’m definitely not an Andrew Lloyd Webber fan (though I’ve enjoyed some of the music from the show over the years) - I was really here for Jamie Lloyd.
I know it’s proving to be Marmite and I imagine the reviews will reflect that too but it totally worked for me.
Upon 1st viewing I found the humour / *nudge/wink* elements very jarring. But this all came together by the 2nd act for me. Watching a 2nd time I understood the tone from the beginning so it worked entirely. I think a lot of this comes down to expectation. Having seen the concert show with Glenn Close years ago - the tone here was a little self-serious. Which I now think to be a little strange given that the original film is actually a satirical comedy of its time, here the satire is reframed and more relevant for a contemporary theatrical format. I think this angle of the film has faded over the years as people (including myself) have romanticized it. But it WAS bonkers…and so is this show. Upon listening to the lyrics closer I realised just how much humour is in there and how meta / self referential the material actually is.
Now whether you like Jamie Lloyd (and his creative decisions) or not, there’s no doubting that every element in this show has an intention behind it. I was thinking about this most with the moments that made me cringe (I believe as intended).
I think the show brilliantly deconstructs the artifice of performance, celebrity, female ageism and power structures. Last night at the beginning of Act 2 Joe walks past and gestures towards a cutout of Andrew Lloyd Webber - I saw this as Jamie Lloyd proudly sucking up to his boss in his frequently referenced “JAMIE LLOYD” directed show. So even the director of this show becomes a character/presence.
In at least 3 moments, characters remove their mics as a way of marking their heartbreak and disengagement from the performance. It’s difficult to explain why but I found this incredibly powerful.
Also possibly the most impressive lighting I’ve ever seen, coupled with the fog - you will not be missing any lack of set…! I know some people prefer traditional spectacle with lots of set but to call this a “concert show”…I’d love to see any other concert show that holds a candle to this! Yes the show can be described as minimalistic but that’s really on surface value. To say there is A LOT going on would be an understatement, everything is directed within an inch of its life (which some may not like). I just love the juxtaposition between the controlled/serious and the unhinged/silly.
I think this show only works if you’re willing to leave behind anything that came before it - this really is a total reinvention.
Overall I found it to be an exhilarating piece of theatre and can’t wait to see it a 3rd time.
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Post by 141920grm on Oct 7, 2023 13:27:57 GMT
This production is amazing to very many people. Yeah, I heard all the finger snapping, cheering mid song etc… that’s great if you like X-Factor I guess. Go see it in a better seat with better behaved seat neighbours 😂 |
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Post by alece10 on Oct 7, 2023 13:31:29 GMT
Hopefully this works. But just seen footage of Act 2 opening to prove its live. Its fscinating I've watched it about 10 times already. I did confirm it's all done live about a week ago (after discussing it with Nathan Amzi who does cinematography/cameras on the show). Absolutely, but when I saw the clip thought I'd share it for the non believers. Must say when I saw the show at the first preview, my friend whispered to me "is it live or recorded" I said "bit of both I think" as I didn't think it was possible to do the whole sequence live. |
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Post by steve10086 on Oct 7, 2023 13:39:19 GMT
Yeah, I heard all the finger snapping, cheering mid song etc… that’s great if you like X-Factor I guess. Go see it in a better seat with better behaved seat neighbours 😂 Second row of the stalls not a good seat these days?! |
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Post by bobbievanhusen on Oct 7, 2023 14:04:45 GMT
Go see it in a better seat with better behaved seat neighbours 😂 Second row of the stalls not a good seat these days?! It never was. Far too close to appreciate everything that's going on. |
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Post by steve10086 on Oct 7, 2023 14:11:50 GMT
Second row of the stalls not a good seat these days?! It never was. Far too close to appreciate everything that's going on. What exactly do you miss? |
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Post by ceebee on Oct 7, 2023 15:09:37 GMT
Go see it in a better seat with better behaved seat neighbours 😂 Second row of the stalls not a good seat these days?! Clearly not for you. Try E or G - it's fantastic from those rows. |
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