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Post by ceebee on Jul 31, 2023 22:55:31 GMT
About what time did it finish? Going tomorrow and with the reduced service, I might need to find alternative methods home because the last train leaves at 22:27! It finished around 9.45/9.50pm - I walked to Charing Cross from the theatre and got a 10.08pm train. I hope you enjoy the show.
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241 posts
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Post by justafan on Jul 31, 2023 23:06:12 GMT
Does anyone know an approximate running time yet - just trying to arrange travel home after the Tuesday matinee ACT 1 53 minutes INTERVAL 20 minutes ACT 2 1 hour TOTAL 2 hours & 13 minutes Thanks so much 👍
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881 posts
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Post by BVM on Jul 31, 2023 23:15:25 GMT
Enjoyed this tonight.
The ALW/Cullen orchestrations played by a 30 piece orchestra sounded wonderful. Excellent sound and lighting - guess it helps being in a theatre with both already installed for a musical.
It was semi staged rather than pure concert form with an excellent ensemble of 8 and some fully choreographed scenes which were fantastic.
Jeremy Secombe was a strong Peron though opted not to do the accent.
I really like Matt Rawle as Che. Very confident and self assured but guess that comes from having played the role for such a long time. I know not everyone likes his portrayal but I love his voice and it works for me. I am very used to him though having seen the Grandage Adelphi version more than any other.
Sadly I wasn't fully convinced by Aulii. She has a sweet and strong voice but I just don't really see her as Evita. She was out of time with the orchestra a few times but that would just be a first night thing I guess. And she just felt slightly under confident and under rehearsed and too young/inexperienced. The Peron/Eva relationship never felt fully believable. Though this matters less in a "concert" version.
I think it showed that Matt Rawle knows this show backwards and Secomb is very experienced and that contrasted with Aulii who I think had barely heard of this show a few months ago.... Anyway, if it was a run longer than 3 performances I'd say it'd be interesting to see how she develops as she has lots of potential. But tonight whilst I enjoyed her singing, the character of Evita wasn't as I perceive it.
But overall a great night and the ALW score sounded sensational.
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Post by richey on Jul 31, 2023 23:43:27 GMT
I thought it was wonderful. It was lovely to hear the score played by an orchestra I'd agree that whilst Aulii isn't a natural Eva, she gave an gorgeous performance tonight and it was fine for a concert version of the show. Loved Don't Cry for Me, it gave me chills.
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Post by bobbievanhusen on Aug 1, 2023 6:14:52 GMT
I wasn't a fan of Matt Rawle as Che. He was very different to most Che's before him. They all had some character and purpose, Rawle did not. Too laid back and meandering for me. Aulii Cravalho was under rehearsed and just too young/inexperienced to play Eva. She has a pretty voice, but she missed cues, her timing was off and I felt she screeched some of it. The choir/chorus was lcklustre, but that may be because of the sound design.
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Post by ceebee on Aug 1, 2023 7:39:53 GMT
Have to agree - I think it could have been better. Aulii clearly has a beautiful voice but she's not an Eva for me. I know it's a demanding role but she was struggling with some of the higher notes and seemed to be lacking confidence at times. I don't know much about her but there were moments when she absolutely shone and was exciting to listen to and watch - playing against such a dynamic Peron who exuded greater power, it was hard to believe that she could end up dominating the relationship/country...
As for Matt Rawle, well I rate him - I thought he was excellent as Martin in Martin Guerre (and last night he seemed to be channelling his inner Iain Glen with his long locks and stubble/beard - he could easily play Arnaud du Thil whenever MG gets revived). I saw Rawle as Che previously and whilst he is very charismatic, he could challenge Sheridan Smith for audience gurning at times. Vocally strong, though I struggled with his diction last night - some words were lost and vowels were strangled. Jeremy Secomb as Peron was excellent, as was Emily Lane, and it was a delight to see Nathan Amzi again who I think is an excellent singer and character actor. The orchestra was the highlight for me, with some beautiful harp playing which was mesmerising at times.
But what do I know? The audience seemed to love it. For me, at the prices they charge (or aspire to charge), the creators of these concerts need to spend a little more time and money on polishing the final product, because I have no doubt the talent of the leads on stage last night is far greater than this production allows. With better direction and more rehearsal time, it could have been much better: that isn't the fault of the actors.
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Post by toomasj on Aug 1, 2023 7:39:59 GMT
Anyone else attending today’s matinee? The trains are a nightmare travelling from East Sussex, goodness knows what they’re like elsewhere!
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1,894 posts
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Post by distantcousin on Aug 1, 2023 7:55:30 GMT
I wasn't a fan of Matt Rawle as Che. He was very different to most Che's before him. They all had some character and purpose, Rawle did not. Too laid back and meandering for me. Aulii Cravalho was under rehearsed and just too young/inexperienced to play Eva. She has a pretty voice, but she missed cues, her timing was off and I felt she screeched some of it. The choir/chorus was lcklustre, but that may be because of the sound design.
I wonder if it is anything to do with the fact he was never directed to play him with the Guevara "contrivance"? When he did it at the Adelphi, the role was firmly back to the original, pre West End, "everyman" intent.
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Post by ceebee on Aug 1, 2023 8:01:57 GMT
I wasn't a fan of Matt Rawle as Che. He was very different to most Che's before him. They all had some character and purpose, Rawle did not. Too laid back and meandering for me. Aulii Cravalho was under rehearsed and just too young/inexperienced to play Eva. She has a pretty voice, but she missed cues, her timing was off and I felt she screeched some of it. The choir/chorus was lcklustre, but that may be because of the sound design.
I wonder if it is anything to do with the fact he was never directed to play him with the Guevara "contrivance"? When he did it at the Adelphi, the role was firmly back to the original, pre West End, "everyman" intent. An interesting observation, particularly as Rawle's last act in the concert is to put on a Guevara beret that hasn't been worn until that point... Were they being ironic or subtle? Who knows...
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1,894 posts
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Post by distantcousin on Aug 1, 2023 8:11:42 GMT
I wonder if it is anything to do with the fact he was never directed to play him with the Guevara "contrivance"? When he did it at the Adelphi, the role was firmly back to the original, pre West End, "everyman" intent. An interesting observation, particularly as Rawle's last act in the concert is to put on a Guevara beret that hasn't been worn until that point... Were they being ironic or subtle? Who knows... ooh, that gives me shades of the final moment of Evita at Regent's Park, but with a different character..
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Post by toomasj on Aug 1, 2023 8:16:03 GMT
Wait… ensemble of 8?! Seriously?
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2,819 posts
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Post by ceebee on Aug 1, 2023 8:22:30 GMT
Wait… ensemble of 8?! Seriously? I think there are 12 or 13 actors playing at the front of the stage and a choir behind the orchestra comprising probably around 16 - 20 people. The choir needs beefing up a bit for sound - more volume and better reverb would fill out the sound better in the theatre. The orchestra sounded excellent.
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Post by toomasj on Aug 1, 2023 8:32:12 GMT
Wait… ensemble of 8?! Seriously? I think there are 12 or 13 actors playing at the front of the stage and a choir behind the orchestra comprising probably around 16 - 20 people. The choir needs beefing up a bit for sound - more volume and better reverb would fill out the sound better in the theatre. The orchestra sounded excellent. Ah, forgot about the choir - I panicked for a moment trying to imagine how A New Argentina might sound!
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881 posts
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Post by BVM on Aug 1, 2023 9:34:25 GMT
Also a Matt Rawle fan for a long time (just a really lovely voice - thought he was great in Martin Guerre, Zorro, Aspects of Love and RUG Evita). To my memory he played it very similar last night to how he did at The Adelphi - though without the discipline and vision of the Grandage direction perhaps.
I do wonder if the whole "semi staged" version worked against them. As as a concert Aulii would have been fine as she has a fantastic voice. Though the sections out of time with orchestra were still suboptimal. But DCFMA was indeed sublime.
If it's semi staged you are gonna judge the acting however and as others have said, she really didn't embody Eva Peron.
Having said all that I do prefer semi staged to pure concert and thought the ensemble were sensational as were the choreographed numbers - they looked like they'd been doing this for weeks. Basically, sadly, the only one who looked a bit under rehearsed was Aulii. But then she does have the biggest task and most to learn, the productions rehearsal time's fault rather than hers I guess - and giving benefit of doubt, first night nerves perhaps?
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Post by FrontroverPaul on Aug 1, 2023 9:54:13 GMT
Anyone else attending today’s matinee? The trains are a nightmare travelling from East Sussex, goodness knows what they’re like elsewhere! Yes, my booked train to London from Kent is currently on time and no delays. Hope you make it. I was sitting at this PC when the £25 ticket offer came through and managed to get stalls row B side block for a fraction of the original price
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Post by toomasj on Aug 1, 2023 10:26:46 GMT
Anyone else attending today’s matinee? The trains are a nightmare travelling from East Sussex, goodness knows what they’re like elsewhere! Yes, my booked train to London from Kent is currently on time and no delays. Hope you make it. I was sitting at this PC when the £25 ticket offer came through and managed to get stalls row B side block for a fraction of the original price Nice one - just got on train too - I got centre of row D in the royal circle for £25 too. Even if I hate it, can’t go wrong with that price!
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Post by ceebee on Aug 1, 2023 11:24:55 GMT
Yes, my booked train to London from Kent is currently on time and no delays. Hope you make it. I was sitting at this PC when the £25 ticket offer came through and managed to get stalls row B side block for a fraction of the original price Nice one - just got on train too - I got centre of row D in the royal circle for £25 too. Even if I hate it, can’t go wrong with that price! You won't hate it - there's plenty to like about this concert, particularly the orchestra, Peron, Magaldi, the Mistress.
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241 posts
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Post by justafan on Aug 1, 2023 14:39:25 GMT
Enjoying Jeremy Secomb hugely - great voice and presence - a hardworking ensemble but the rest … glad I only paid £25 thanks to A.Ham - I’m also surrounded by kids which is hugely irritating as they can’t seem to sit still
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Post by bobbievanhusen on Aug 1, 2023 18:06:49 GMT
The actress who played The Mistress was excellent. Another Suitcase was a definite highlight.
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Post by toomasj on Aug 1, 2023 18:10:13 GMT
Ooof. Review to follow.
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Post by A.Ham on Aug 1, 2023 18:14:33 GMT
Enjoying Jeremy Secomb hugely - great voice and presence - a hardworking ensemble but the rest … glad I only paid £25 thanks to A.Ham - I’m also surrounded by kids which is hugely irritating as they can’t seem to sit still Glad you got the offer price, but apologies about the children - I’d be annoyed too 😞
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Post by westendboy on Aug 1, 2023 18:23:47 GMT
Saw this last night. This was my first time experiencing 'Evita' in any shape or form and I wasn't disappointed! {Spoiler - click to view} Everyone in the cast was on top of their game and even though the ensemble was small, the choir certainly made up for it. Auli'i Cravalho's Eva was a right mixture of powerful, sassy, sympathetic and captivating and her 'Don't Cry For Me Argentina' made me hear a pin drop it was so good! Matt Rawle's Che started off okay for me personally, but got better as the show went on. I really liked how at the start, he's dressed as just an average joe (similar to Antonio Bandaras in the film), before really personifying Che Guevarra at the end. Jeremy Secomb was perfectly cast as Juan Peron, truly embodying the man himself and making him seem both strong when needed and vulnerable towards the end.. A truly wonderful production and a great first time experience of this classic show! I'm now looking forward to 'Love Never Dies' this month!
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Post by AddisonMizner on Aug 1, 2023 19:11:53 GMT
I went to the matinee of this today. I had seen the film some years ago now, but had never seen EVITA on stage until today.
My overall view is that it was just okay. To be honest, some of my issues are to do with the material itself. I just don’t think that the storytelling is very clear (unless I am missing something), and I feel like you need to know something about Eva Peron before you watch it, as otherwise you miss some of the intricacies of the piece. There were many in the audience around me who didn’t have a clue what was going on! For me, you shouldn’t need to know anything before you go in, and the material should do the heavy-lifting for you.
I’m afraid to say that Auliʻi Cravalho was out of her depth and just not good as Eva. Again, not entirely all her fault. Her music is poorly written for the voice, requiring her to belt at the top of it for a sustained period of time. She was frequently either under the note or lent into the acting more so that she didn’t have to sustain them. She looked like she was in a high-school production compared to the ensemble around her, and this created a vacuum at the heart of the piece itself.
There were some saving graces however.
As said above, the actress playing the Mistress was good, and her ‘Another Suitcase in Another Hall’ was very pretty.
There were some nice visual moments for a semi-staged concert, particularly at the start of ‘Don’t Cry For Me, Argentina’ when she comes down the staircase in the white dress. I also liked a lot of the mise-en-scene around Eva’s bed near the end.
However, the performance really belongs to the orchestra. They were sublime, and the music sounded glorious! I really cannot wait to hear LOVE NEVER DIES now with that orchestra later this month. I think it really is going to be something special (I’m pretty sure I saw Celinde in the audience this afternoon too).
Glad I went, but it could have been better. I much preferred ASPECTS OF LOVE. I’ve booked for the Leicester Curve production of EVITA, so we will see if that fares any better.
On another note, it is my first time going to the Theatre Royal Drury Lane since the refurb. What a beautiful theatre! They really have done an astonishing job with it. Worth going just to be in that building.
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Post by mrbarnaby on Aug 1, 2023 20:46:29 GMT
Who is this famous ‘Actress who played The Mistress’ ?
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Post by toomasj on Aug 1, 2023 20:57:37 GMT
“Concert version” is a strange term, isn’t it? One never knows quite what to expect. Is it neutrally dressed performers standing at a microphone in a line - or is it costumed stars giving performances which beg for sets behind them to match their brilliance?
I attended today’s matinee. It is neither.
The money is on stage from the get-go. A brilliant on-stage 30(!!!!) piece orchestra play Evita as it is meant to sound. In that sense, this is a one off “production”. It sounded amazing - if the quality of the orchestra is the sole measure. The orchestra - yes, orchestra - NOT “band” - sounded incredible.
Then everything falls apart.
Auli’i Cravalho is incompetent vocally and professionally to lead a production at this level. At the performance I attended (today’s matinee) she was desperately poor - my assessment of her terrible performance is a lot crueller than previous reviews in this thread. She missed the starts and ends of sentences, she commanded less presence than the perpetually annoying drunken patron three seats down from me. She couldn’t sing the part. She screamed. It was very, very bad. She couldn’t sing the high notes, she sang with a poorly realised Elena Roger impression (when she remembered). She shouted. It was bad.
That is disregarding the missed cues (entire lines missed in Rainbow Tour), mess ups inducing on the fly lyric changes, and being late/early constantly. It was bad. I wouldn’t accept that from an amateur group.
But then she literally missed a cue to be on stage, while Secomb’s Perón looked confused and replied to the empty space where she was meant to be stage left (with conspicuous spotlight) with “I’m not underestimating you, just do the same thing in Italy please” as written.
But she wasn’t alone in constantly blowing entrances. The chorus did it five or six times too.
Matt Rawle, who I really like as a performer normally, was dreadful. His diction was appalling, he threw away key phrases and emphasised irrelevant ones. His dreadful performance was the big surprise of the night because I hugely admired his Che in the Grandage production. I also love him usually in other shows. Today was a disaster.
And before everyone jumps on me, I realise the performers had limited rehearsal. I remind them that a lot of people paid £175 EACH for this. This was worse than am-dram productions I’ve seen.
Nathan Amzi wasn’t great either to my tastes as Magaldi, despite the good notices here. The humour was completely lost compared to the patronising Gary Milner in the Grandage production. I had a quick look around actually at this point, everyone looked very bored to be honest - and this was 20-30 minutes in.
The standout from the cast is undeniably Jeremy Secomb’s Perón. He had presence, sings the song as written, and even acted in character. But really it’s about the orchestra because this “production” has nothing else going for it.
Specifics? It’s hard to give just one because everything was wrong. Missed pickup (mic) cues are a given but every scene?! Seriously?! Early entrances. Late entrances. It needed another two weeks of 10 hour rehearsal days. It was dreadful.
So the boring facts; the stage are onstage throughout, behind them is a backdrop with three LEDs showing Christian crosses. There is a coffin in the opening scene, a few cheap looking props throughout and small set pieces here and there. Nothing you wouldn’t expect from a church hall production.
The direction of the actors, by Bill Deamer, is pretty much identical to the Kenwright production. But worse. The choreography is IDENTICAL to the tour but scaled down for 8 ensemble members. This is because Bill Deamer (director) choreographed the Kenwright tour and copied absolutely everything. His own work, the previous director’s work. It was the same but worse and thinner.
This was a production that aspired to be as good as the Kenwright tour. Let that sink in.
Now; normally I’d write this off in the context of being a discounted preview performance of a full production as teething issues. I wouldn’t even have the heart to review it because I knew nobody was happy with it within the production.
But as a reminder of the cost of this “concert production”, if you paid full price, you could’ve had a budget weekend away in Europe. This was worth less than a wet weekend in Bognor.
This was bad. Very, very bad.
1*
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2,819 posts
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Post by ceebee on Aug 1, 2023 21:04:50 GMT
“Concert version” is a strange term, isn’t it? One never knows quite what to expect. Is it neutrally dressed performers standing at a microphone in a line - or is it costumed stars giving performances which beg for sets behind them to match their brilliance? I attended today’s matinee. It is neither. The money is on stage from the get-go. A brilliant on-stage 30(!!!!) piece orchestra play Evita as it is meant to sound. In that sense, this is a one off “production”. It sounded amazing - if the quality of the orchestra is the sole measure. The orchestra - yes, orchestra - NOT “band” - sounded incredible. Then everything falls apart. Auli’i Cravalho is incompetent vocally and professionally to lead a production at this level. At the performance I attended (today’s matinee) she was desperately poor - my assessment of her terrible performance is a lot crueller than previous reviews in this thread. She missed the starts and ends of sentences, she commanded less presence than the perpetually annoying drunken patron three seats down from me. She couldn’t sing the part. She screamed. It was very, very bad. She couldn’t sing the high notes, she sang with a poorly realised Elena Roger impression (when she remembered). She shouted. It was bad. That is disregarding the missed cues (entire lines missed in Rainbow Tour), mess ups inducing on the fly lyric changes, and being late/early constantly. It was bad. I wouldn’t accept that from an amateur group. But then she literally missed a cue to be on stage, while Secomb’s Perón looked confused and replied to the empty space where she was meant to be stage left (with conspicuous spotlight) with “I’m not underestimating you, just do the same thing in Italy please” as written. But she wasn’t alone in constantly blowing entrances. The chorus did it five or six times too. Matt Rawle, who I really like as a performer normally, was dreadful. His diction was appalling, he threw away key phrases and emphasised irrelevant ones. His dreadful performance was the big surprise of the night because I hugely admired his Che in the Grandage production. I also love him usually in other shows. Today was a disaster. And before everyone jumps on me, I realise the performers had limited rehearsal. I remind them that a lot of people paid £175 EACH for this. This was worse than am-dram productions I’ve seen. Nathan Amzi wasn’t great either to my tastes as Magaldi, despite the good notices here. The humour was completely lost compared to the patronising Gary Milner in the Grandage production. I had a quick look around actually at this point, everyone looked very bored to be honest - and this was 20-30 minutes in. The standout from the cast is undeniably Jeremy Secomb’s Perón. He had presence, sings the song as written, and even acted in character. But really it’s about the orchestra because this “production” has nothing else going for it. Specifics? It’s hard to give just one because everything was wrong. Missed pickup (mic) cues are a given but every scene?! Seriously?! Early entrances. Late entrances. It needed another two weeks of 10 hour rehearsal days. It was dreadful. So the boring facts; the stage are onstage throughout, behind them is a backdrop with three LEDs showing Christian crosses. There is a coffin in the opening scene, a few cheap looking props throughout and small set pieces here and there. Nothing you wouldn’t expect from a church hall production. The direction of the actors, by Bill Deamer, is pretty much identical to the Kenwright production. But worse. The choreography is IDENTICAL to the tour but scaled down for 8 ensemble members. This is because Bill Deamer (director) choreographed the Kenwright tour and copied absolutely everything. His own work, the previous director’s work. It was the same but worse and thinner. This was a production that aspired to be as good as the Kenwright tour. Let that sink in.Now; normally I’d write this off in the context of being a discounted preview performance of a full production as teething issues. I wouldn’t even have the heart to review it because I knew nobody was happy with it within the production. But as a reminder of the cost of this “concert production”, if you paid full price, you could’ve had a budget weekend away in Europe. This was worth less than a wet weekend in Bognor. This was bad. Very, very bad. 1* I agree with you on most points. I didnt want to be too scathing as I didn't want to spoil things for people seeing it today, but aside from the orchestra it was a steaming pile of dung. And yet some folk loved it - I found it a totally lazy effort and blame the director.
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Post by FrontroverPaul on Aug 1, 2023 21:05:57 GMT
Just by way of contrast I thoroughly enjoyed it and would award four stars.
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Post by intoanewlife on Aug 1, 2023 21:08:19 GMT
“Concert version” is a strange term, isn’t it? One never knows quite what to expect. Is it neutrally dressed performers standing at a microphone in a line - or is it costumed stars giving performances which beg for sets behind them to match their brilliance? I attended today’s matinee. It is neither. The money is on stage from the get-go. A brilliant on-stage 30(!!!!) piece orchestra play Evita as it is meant to sound. In that sense, this is a one off “production”. It sounded amazing - if the quality of the orchestra is the sole measure. The orchestra - yes, orchestra - NOT “band” - sounded incredible. Then everything falls apart. Auli’i Cravalho is incompetent vocally and professionally to lead a production at this level. At the performance I attended (today’s matinee) she was desperately poor - my assessment of her terrible performance is a lot crueller than previous reviews in this thread. She missed the starts and ends of sentences, she commanded less presence than the perpetually annoying drunken patron three seats down from me. She couldn’t sing the part. She screamed. It was very, very bad. She couldn’t sing the high notes, she sang with a poorly realised Elena Roger impression (when she remembered). She shouted. It was bad. That is disregarding the missed cues (entire lines missed in Rainbow Tour), mess ups inducing on the fly lyric changes, and being late/early constantly. It was bad. I wouldn’t accept that from an amateur group. But then she literally missed a cue to be on stage, while Secomb’s Perón looked confused and replied to the empty space where she was meant to be stage left (with conspicuous spotlight) with “I’m not underestimating you, just do the same thing in Italy please” as written. But she wasn’t alone in constantly blowing entrances. The chorus did it five or six times too. Matt Rawle, who I really like as a performer normally, was dreadful. His diction was appalling, he threw away key phrases and emphasised irrelevant ones. His dreadful performance was the big surprise of the night because I hugely admired his Che in the Grandage production. I also love him usually in other shows. Today was a disaster. And before everyone jumps on me, I realise the performers had limited rehearsal. I remind them that a lot of people paid £175 EACH for this. This was worse than am-dram productions I’ve seen. Nathan Amzi wasn’t great either to my tastes as Magaldi, despite the good notices here. The humour was completely lost compared to the patronising Gary Milner in the Grandage production. I had a quick look around actually at this point, everyone looked very bored to be honest - and this was 20-30 minutes in. The standout from the cast is undeniably Jeremy Secomb’s Perón. He had presence, sings the song as written, and even acted in character. But really it’s about the orchestra because this “production” has nothing else going for it. Specifics? It’s hard to give just one because everything was wrong. Missed pickup (mic) cues are a given but every scene?! Seriously?! Early entrances. Late entrances. It needed another two weeks of 10 hour rehearsal days. It was dreadful. So the boring facts; the stage are onstage throughout, behind them is a backdrop with three LEDs showing Christian crosses. There is a coffin in the opening scene, a few cheap looking props throughout and small set pieces here and there. Nothing you wouldn’t expect from a church hall production. The direction of the actors, by Bill Deamer, is pretty much identical to the Kenwright production. But worse. The choreography is IDENTICAL to the tour but scaled down for 8 ensemble members. This is because Bill Deamer (director) choreographed the Kenwright tour and copied absolutely everything. His own work, the previous director’s work. It was the same but worse and thinner. This was a production that aspired to be as good as the Kenwright tour. Let that sink in.Now; normally I’d write this off in the context of being a discounted preview performance of a full production as teething issues. I wouldn’t even have the heart to review it because I knew nobody was happy with it within the production. But as a reminder of the cost of this “concert production”, if you paid full price, you could’ve had a budget weekend away in Europe. This was worth less than a wet weekend in Bognor. This was bad. Very, very bad. 1* I agree with you on most points. I didnt want to be too scathing as I didn't want to spoil things for people seeing it today, but aside from the orchestra it was a steaming pile of dung. And yet some folk loved it - I found it a totally lazy effort and blame the director. PMSL
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Post by toomasj on Aug 1, 2023 21:09:09 GMT
ceebee thank you for your consideration but as someone who trusts your opinion I’d rather you gave it. @frontoverpaul I am glad you had a great time and this is why we are all entitled to share our opinions! ❤️
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Post by toomasj on Aug 1, 2023 21:16:42 GMT
Don’t let my patience in trying to write a review which is as balanced as I can manage fool you. I loathed this.
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