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Post by richey on Aug 2, 2023 19:05:09 GMT
Interesting how you have aged Sharon and Tracey - I saw them more as wannabe twenty-something vacuous influencers who enjoy a prosecco or two in the bottomless brunch before popping off to see a show that they watched their parents watch the film of as kids. They are not lushes, they are lesbian, and they grabbed a vegan sausage roll from Greggs on the Strand before taking the tube back to their in-laws in Cockfosters. THERE’S A GREGGS ON THE STRAND??? There is indeed. I spent an amusing half hour in there on the weekend watching the tourists discover the delights of their baked goods |
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Post by danb on Aug 2, 2023 19:49:56 GMT
We only covered a tiny bit of the Strand on Sunday when trying to get from Drury Lane to Palladium, but Greggs might have offered some respite from the torrential non-stop downpour that plagued the journey in only a Tu hoody. (FYI-They’re super absorbent!).
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Post by BurlyBeaR on Aug 2, 2023 21:00:54 GMT
The potato and meat pasty (not allowed to call it Cornish) is even better than the Sausage Roll I find. You only need the one as long as there’s a Jammy Heart for dessert ❤️
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Post by danb on Aug 2, 2023 21:16:04 GMT
Baked goods would not have been a consideration. Anything with a roof was my pre-requisite…it had beer so that made it better still.
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Post by ceebee on Aug 2, 2023 21:32:38 GMT
The potato and meat pasty (not allowed to call it Cornish) is even better than the Sausage Roll I find. You only need the one as long as there’s a Jammy Heart for dessert ❤️ I prefer a berliner to a tart. |
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Post by bobbievanhusen on Aug 3, 2023 2:07:29 GMT
It’s like the opposite of the Aspects thread, where anyone who disliked the show was deemed too thick to be able to deal with challenging theatre. Aspects of Love is challenging theatre?
And no, before someone says it, JB's performance in it is not challenging theatre!
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Post by justsaying113 on Aug 3, 2023 5:50:53 GMT
Lots of valid comments here that I've enjoyed reading. I'm old enough to have seen the original production with Elaine Paige and have caught so many versions since. On the plus side, I was just thrilled to hear that score played by a big orchestra. I do agree though that Auli'i was miscast. It's clear she has talent and she had her moments (pun intended!), but she simply isn't an 'Eva' - never did I believe she could bring a country to such levels of adoration and worship. Given the discounting that went on, it would appear she wasn't the draw the producers had predicted. Given it was a concert, they'd have been better with one of the ladies who've played it in recent years - Louise Dearman, for example, would have raised the roof. Whenever I see 'Evita', I always come away with the same thought - stop fannying around with it and just revive the Hal Prince original. It worked to huge commercial success in Australia a few years back.
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Post by hitmewithurbethshot on Aug 3, 2023 11:28:33 GMT
I prefer a berliner to a tart. Enough about your personal life |
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Post by Deleted on Aug 3, 2023 12:31:11 GMT
I guess with Auli'i or our Lil as the late great Paul O'Grady would have called her they were looking for the younger Disney audience as well as the established theatre goers.
With all the talk about qualiy control of ALW's work, I wonder if he is more concerned about how his score sounds than the quality of the productions he licenses?
From all the feedback the score was superbly played by the LMTO and if Andrew had heard bits of this when agreeing to them doing the staging I'm sure he'd have been very happy. So if his score is given the sound and respect he wants then he is satisfied.
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4,020 posts
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Post by Dawnstar on Aug 3, 2023 20:00:20 GMT
Can we try leasing the railways on strike days for a giant mainline production of Starlight?... Now that I would go to! Well, except that with a train strike I wouldn't be able to get to it... |
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Post by anthony40 on Aug 4, 2023 9:39:09 GMT
I wasn't there so cannot comment on anything that happened on the night however I awoke this morning to see that Fourth Wall has posted some production shots on Facebook, for anyone interested.
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Post by max on Aug 4, 2023 11:28:01 GMT
Thanks for pointer to the Fourth Wall Facebook pics anthony40 But....oh great, I guessed but didn't want to post before: Eva sang 'Don't Cry For Me, Argentina' surrounded by the aristocracy, as in the Kenwright version. Only Kenwright had them in gowns and gala finery, the concert seems to have 'smart' and suits/bow ties. It's not what the song's about - certainly not Kenwright's interpretation. It's not 'Disney princess gets to go to the ball', it's 'street fighter creates her own ball with the working class'. Perhaps at the concert the Drury Lane Audience were addressed as 'the people' and the ensemble dressed in finery looked on askance as the horrified Aristocracy?? Begs the question: who hummed the melody, when Eva is overcome by emotion and can't carry on? If it was the Ensemble then they're clearly not in role as the critical Aristocracy and it's again a director who either doesn't understand, or doesn't want, Evita to be the show that it is. |
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Post by justafan on Aug 4, 2023 15:57:39 GMT
Thanks for pointer to the Fourth Wall Facebook pics anthony40 But....oh great, I guessed but didn't want to post before: Eva sang 'Don't Cry For Me, Argentina' surrounded by the aristocracy, as in the Kenwright version. Only Kenwright had them in gowns and gala finery, the concert seems to have 'smart' and suits/bow ties. It's not what the song's about - certainly not Kenwright's interpretation. It's not 'Disney princess gets to go to the ball', it's 'street fighter creates her own ball with the working class'. Perhaps at the concert the Drury Lane Audience were addressed as 'the people' and the ensemble dressed in finery looked on askance as the horrified Aristocracy?? Begs the question: who hummed the melody, when Eva is overcome by emotion and can't carry on? If it was the Ensemble then they're clearly not in role as the critical Aristocracy and it's again a director who either doesn't understand, or doesn't want, Evita to be the show that it is. That reminds me of an ‘awkward’ end of song number at the Tuesday matinee. In every production I’ve seen of this show right from the original at the PET when Evita puts her hands up in salute at the end of ‘don’t cry for me …’ the whole audience has been caught up in the emotion and unashamedly act as ‘her people’ and applaud the symbolism. This didn’t happen at the Tues matinee - not in the dress circle anyway - leaving the cast to start the next number. |
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Post by toomasj on Aug 4, 2023 16:00:41 GMT
^^ the audience there were sitting on their hands.
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Post by anthony on Aug 4, 2023 17:22:41 GMT
Thanks for pointer to the Fourth Wall Facebook pics anthony40 But....oh great, I guessed but didn't want to post before: Eva sang 'Don't Cry For Me, Argentina' surrounded by the aristocracy, as in the Kenwright version. Only Kenwright had them in gowns and gala finery, the concert seems to have 'smart' and suits/bow ties. It's not what the song's about - certainly not Kenwright's interpretation. It's not 'Disney princess gets to go to the ball', it's 'street fighter creates her own ball with the working class'. Perhaps at the concert the Drury Lane Audience were addressed as 'the people' and the ensemble dressed in finery looked on askance as the horrified Aristocracy?? Begs the question: who hummed the melody, when Eva is overcome by emotion and can't carry on? If it was the Ensemble then they're clearly not in role as the critical Aristocracy and it's again a director who either doesn't understand, or doesn't want, Evita to be the show that it is. That reminds me of an ‘awkward’ end of song number at the Tuesday matinee. In every production I’ve seen of this show right from the original at the PET when Evita puts her hands up in salute at the end of ‘don’t cry for me …’ the whole audience has been caught up in the emotion and unashamedly act as ‘her people’ and applaud the symbolism. This didn’t happen at the Tues matinee - not in the dress circle anyway - leaving the cast to start the next number. Interestingly, on Tuesday evening, they didn't pause at all at the end of the song. It led to some of us starting to clap, as expected, but the cast immediately moving onto the next track. |
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Post by ceebee on Aug 4, 2023 17:34:22 GMT
Thanks for pointer to the Fourth Wall Facebook pics anthony40 But....oh great, I guessed but didn't want to post before: Eva sang 'Don't Cry For Me, Argentina' surrounded by the aristocracy, as in the Kenwright version. Only Kenwright had them in gowns and gala finery, the concert seems to have 'smart' and suits/bow ties. It's not what the song's about - certainly not Kenwright's interpretation. It's not 'Disney princess gets to go to the ball', it's 'street fighter creates her own ball with the working class'. Perhaps at the concert the Drury Lane Audience were addressed as 'the people' and the ensemble dressed in finery looked on askance as the horrified Aristocracy?? Begs the question: who hummed the melody, when Eva is overcome by emotion and can't carry on? If it was the Ensemble then they're clearly not in role as the critical Aristocracy and it's again a director who either doesn't understand, or doesn't want, Evita to be the show that it is. That reminds me of an ‘awkward’ end of song number at the Tuesday matinee. In every production I’ve seen of this show right from the original at the PET when Evita puts her hands up in salute at the end of ‘don’t cry for me …’ the whole audience has been caught up in the emotion and unashamedly act as ‘her people’ and applaud the symbolism. This didn’t happen at the Tues matinee - not in the dress circle anyway - leaving the cast to start the next number. The same happened Monday evening. Makes me feel awkward just remembering it. When I saw it I was caught in two minds: is this as bad as it actually is, and are half of the audience even familiar with this show? I think it was a bit of both - applauses were the same kind of nudged/forced efforts led by keen mums at an obviously crap school play. |
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Post by ceebee on Aug 4, 2023 17:37:59 GMT
That reminds me of an ‘awkward’ end of song number at the Tuesday matinee. In every production I’ve seen of this show right from the original at the PET when Evita puts her hands up in salute at the end of ‘don’t cry for me …’ the whole audience has been caught up in the emotion and unashamedly act as ‘her people’ and applaud the symbolism. This didn’t happen at the Tues matinee - not in the dress circle anyway - leaving the cast to start the next number. Interestingly, on Tuesday evening, they didn't pause at all at the end of the song. It led to some of us starting to clap, as expected, but the cast immediately moving onto the next track. And this in a nutshell is the problem with the direction. The director should have built in the obvious opportunities for audience to show their appreciation and not just rely on button notes from the orchestra to punctuate proceedings. Perhaps if the director had thought about the audience more by providing such opportunities for applause, the cast might not have looked so lost and nervous. After all, actors feed off the applause don't they? Doesn't it give their performance more confidence and strength? As I've said before, I blame the director and producers for this farce and have no doubt that all of the people on stage are perfectly competent and capable, even the lead even if she was (in my view) miscast. |
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Post by max on Aug 4, 2023 22:02:35 GMT
Are you sure 'Don't Cry For Me Argentina' used to go that way in the original production at the Prince Edward Theatre justafan ? From my memory the timing of the show (the lead in to the next sung lines) isn't affected by applause or no applause, it advances into "just listen to that" almost immediately. But there are around 10 bars of music from the moment Eva sings the final word of 'Don't Cry For Me, Argentina' for the audience to join in with the underscored applause, alongside the ensemble's cheering, and (I think) Sound Effects of a huge crowd's shouts and applause. It's one of the admirable things about the show that the so-called 'big song' doesn't stop for applause, leaving the space for it to be seen (un-applauded) as a load of manipulative shtick from Eva, or indeed applauded if she's hooked you. |
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Post by distantcousin on Aug 9, 2023 9:26:26 GMT
Are you sure 'Don't Cry For Me Argentina' used to go that way in the original production at the Prince Edward Theatre justafan ? From my memory the timing of the show (the lead in to the next sung lines) isn't affected by applause or no applause, it advances into "just listen to that" almost immediately. But there are around 10 bars of music from the moment Eva sings the final word of 'Don't Cry For Me, Argentina' for the audience to join in with the underscored applause, alongside the ensemble's cheering, and (I think) Sound Effects of a huge crowd's shouts and applause. It's one of the admirable things about the show that the so-called 'big song' doesn't stop for applause, leaving the space for it to be seen (un-applauded) as a load of manipulative shtick from Eva, or indeed applauded if she's hooked you.
That has always been my recollection of how it's gone when seeing Evita performed
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