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Post by Jon on May 25, 2017 14:47:59 GMT
Sorry if this has been asked before but why is it a show's closing date always advertised as "MUST END"? What started that particular terminology as it seems to me a slightly weird turn of phrase? I'm assuming it's to create urgency |
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Post by 49thand8th on May 25, 2017 14:51:59 GMT
Same reason stores say "MUST CLOSE," when they take a few months.
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Post by 49thand8th on May 25, 2017 15:44:42 GMT
Haha! Oh my. They need to extend that law to Times Square.
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Post by Tibidabo on Feb 13, 2018 11:24:57 GMT
What, exactly, is a juke box musical? I think I get it but am still a bit confuddled.
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Post by Deleted on Feb 13, 2018 11:28:12 GMT
Juke box musical = the songs pre-exist, and the show is written around them. Commonly you'll find only one artist featured per show (Thriller, Mamma Mia, Viva Forever; I assume it's easier from a rights perspective), but shows featuring songs from multiple artists do exist (Rock of Ages, Dreamboats and Petticoats). People like to be snobby about juke box musicals because of the lack of original score, even though juke box musicals have been a thing since at LEAST Gershwin.
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Post by Tibidabo on Feb 13, 2018 12:04:53 GMT
Thank you both - it's what I thought, but I had detected the snobbery and couldn't see why anyone would diss Dusty (or Katherine Kingsley) so began to wonder if it was something else.
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Post by Jon on Feb 13, 2018 12:49:57 GMT
A show like Tina or Jersey Boys for example is a biomuscial because it’s about the artist or band and it makes sense to use their songs.
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Post by tonyloco on Feb 13, 2018 13:06:36 GMT
^ Plus, some are great - "Bat Out Of Hell" and others aren't. Same as any musical theatre form. Yes, but I understand that Jim Steinman originally conceived 'Bat Out of Hell' as a stage musical but then diverted the songs for MeatLoaf to record over several albums, so what is now being presented on stage is a very belated completion of Steinman's original plan to write a proper book show and not a 'juke box' musical using MeatLoaf songs. Well, whatever it is, it's brilliant! |
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Post by Deleted on Feb 13, 2018 13:07:57 GMT
I would even argue that some biomusicals are technically plays-with-songs, as my own definition of that term revolves around the question "does it make in-universe sense for that character to be singing this song right now?". I don't think there is a solid, universally-agreed-upon definition of plays-with-songs though.
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Post by Deleted on Feb 13, 2018 16:47:45 GMT
I think much of the hostility to jukebox musicals comes from the fact that although some have strong books there are more than a few that have been written around the idea that if the music is popular enough then tickets will sell without the need to put any effort into the show. If the creative team have done their work well you might not realise the music wasn't written for the show. If they haven't then it looks like a cheap knock-off of Top Of The Pops.
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Post by 49thand8th on Feb 13, 2018 17:01:13 GMT
Juke box musical = the songs pre-exist, and the show is written around them. Commonly you'll find only one artist featured per show (Thriller, Mamma Mia, Viva Forever; I assume it's easier from a rights perspective), but shows featuring songs from multiple artists do exist (Rock of Ages, Dreamboats and Petticoats). People like to be snobby about juke box musicals because of the lack of original score, even though juke box musicals have been a thing since at LEAST Gershwin. The definition can be a little fuzzy, which means people snobby about Jersey Boys are probably reluctant to admit that under the widely accepted definition, LoveMusik counts too. |
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Post by londonmzfitz on Feb 13, 2018 17:01:35 GMT
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Post by Mr Snow on Feb 14, 2018 10:01:44 GMT
I don’t like them when the songs are very familiar to me in the voice of the author. Giving them to various characters on a seemingly random basis makes no sense. Further they weren’t written as theatre songs they just happen instead of developing.
That said AAIP and 42nd st are arguably examples that I enjoyed. But familiar as the songs in them are, they have been covered by many artists. For similar reasons I stayed away from Top Hat as I feel Fred nailed it. I don’t have a lot of experience to base it on, but where they impersonate is the lowest of the low. After The Million Dollar Quartet I vowed never again
To each his own
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Post by tonyloco on Feb 14, 2018 12:36:41 GMT
I don’t like them when the songs are very familiar to me in the voice of the author. Giving them to various characters on a seemingly random basis makes no sense. Further they weren’t written as theatre songs they just happen instead of developing. That said AAIP and 42nd st are arguably examples that I enjoyed. But familiar as the songs in them are, they have been covered by many artists. For similar reasons I stayed away from Top Hat as I feel Fred nailed it. I don’t have a lot of experience to base it on, but where they impersonate is the lowest of the low. After The Million Dollar Quartet I vowed never again To each his own I hear what you are saying, Mr Snow, but shows like "Top Hat", "42nd Street" and "An American in Paris" are not remotely like those ghastly impersonation shows like "The Rat Pack", "Million Dollar Quartet" or even the one-person shows based on Frank Sinatra, Liza Minnelli, Judy Garland, Edith Piaf, etc. No, the fact is that the three shows I mentioned above are actually stage adaptations of very popular and successful films and not in any way 'juke box' shows or impersonations. Personally I had reservations about "An American in Paris" although it did garner a host of five-star reviews from the critics. But as to "Top Hat" and "42nd Street" they both bring to life in a wonderfully entertaining and imaginative manner movies that stand as classics in their own field and yet the stage versions have a life of their own that establishes them as classics of the musical theatre. Just a few quick words about both: "42nd Street" is very firmly based in the 1933 Warners movie musical directed by Busby Berkeley, with extra songs by the sane writers from other Warners musical films added in a very neat way. Terrific orchestrations played by a top class orchestra and tap routines to die for make the live experience something the b/w movie could never deliver. And to hear the famous line spoken in the film by Warner Baxter to the chorus girl Peggy Sawyer played by Ruby Keeler actually delivered live on stage is alone worth the admission price to old film buffs like me: "You're going out there a youngster but you've got to come back a star!" As to "Top Hat", yes, Tom Chambers, personable and talented as he is, did not in any way erase memories of Fred Astaire, but that was only a small part of what the stage show delivered. Again, we had wonderful Irving Berlin songs (some of them composed for the original film) performed by a great orchestra and ensemble who sang and danced magnificently. But the biggest achievement was not only to match but to exceed the comedy in the original movie provided by those brilliant character actors Edward Everett Horton, Eric Blore, Erik Rhodes, Donald Meek etc. The second act opened with a brilliant musical production number set on the Venice Lido and then proceeded with a whole string of misunderstandings, mistaken identities and such that had me and the rest of the audience in fits of laughter. And to have Summer Strallen in the Ginger Rogers role...well, that was the icing on the cake! |
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Post by tonyloco on Feb 14, 2018 13:43:31 GMT
I don’t like them when the songs are very familiar to me in the voice of the author. Giving them to various characters on a seemingly random basis makes no sense. Further they weren’t written as theatre songs they just happen instead of developing. That said AAIP and 42nd st are arguably examples that I enjoyed. But familiar as the songs in them are, they have been covered by many artists. For similar reasons I stayed away from Top Hat as I feel Fred nailed it. I don’t have a lot of experience to base it on, but where they impersonate is the lowest of the low. After The Million Dollar Quartet I vowed never again To each his own I hear what you are saying, Mr Snow, but shows like "Top Hat", "42nd Street" and "An American in Paris" are not remotely like those ghastly impersonation shows like "The Rat Pack", "Million Dollar Quartet" or even the one-person shows based on Frank Sinatra, Liza Minnelli, Judy Garland, Edith Piaf, etc. No, the fact is that the three shows I mentioned above are actually stage adaptations of very popular and successful films and not in any way 'juke box' shows or impersonations. Personally I had reservations about "An American in Paris" although it did garner a host of five-star reviews from the critics. But as to "Top Hat" and "42nd Street" they both bring to life in a wonderfully entertaining and imaginative manner movies that stand as classics in their own field and yet the stage versions have a life of their own that establishes them as classics of the musical theatre. Just a few quick words about both: "42nd Street" is very firmly based in the 1933 Warners movie musical directed by Busby Berkeley, with extra songs by the same writers from other Warners musical films added in a very neat way. Terrific orchestrations played by a top class orchestra and tap routines to die for make the live experience something the b/w movie could never deliver. And to hear the famous line spoken in the film by Warner Baxter to the chorus girl Peggy Sawyer played by Ruby Keeler actually delivered live on stage is alone worth the admission price to old film buffs like me: "You're going out there a youngster but you've got to come back a star!" As to "Top Hat", yes, Tom Chambers, personable and talented as he is, did not in any way erase memories of Fred Astaire, but that was only a small part of what the stage show delivered. Again, we had wonderful Irving Berlin songs (some of them composed for the original film) performed by a great orchestra and ensemble who sang and danced magnificently. But the biggest achievement was not only to match but to exceed the comedy in the original movie provided by those brilliant character actors Edward Everett Horton, Eric Blore, Erik Rhodes, Donald Meek etc. The second act opened with a brilliant musical production number set on the Venice Lido and then proceeded with a whole string of misunderstandings, mistaken identities and such that had me and the rest of the audience in fits of laughter. And to have Summer Strallen in the Ginger Rogers role...well, that was the icing on the cake! |
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Post by Elle on Feb 15, 2018 16:22:47 GMT
I think the West End has a great show schedule except for Sunday night. Why are most theatres dark then? Also what makes Monday night a better night for shows to be on than Sunday night in the UK?
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Post by Deleted on Feb 15, 2018 16:56:39 GMT
There have been some proposals to have shows on Sunday rather than Monday, mostly put forwards by management thinking of profits. Resistance has come from people who work in theatre, mainly because if you're in a relationship with someone who works Monday to Friday then having to work Saturdays and Sundays means the only days you ever get to spend together as a family is when you're both on holiday.
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Post by 49thand8th on Feb 15, 2018 17:47:59 GMT
That is really interesting — so many shows here (on Broadway and elsewhere) have a show or even two on Sundays and it seems to be profitable enough. And the UK isn't religious in the same way the US is. I wonder what the deep cultural reason is?
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Post by Deleted on Feb 15, 2018 18:20:37 GMT
Train services are often suspended on Sundays while they do ‘essential repairs’ so getting into London can be difficult too.
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Post by Jon on Feb 15, 2018 18:50:55 GMT
The Cursed Child schedule of Wednesday-Sunday works well
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Post by Elle on Feb 15, 2018 19:46:33 GMT
Thank you for your answers, it all makes sense. I was also thinking in comparison to NYC where it's dark on Mondays instead. If we see London as a weekend destination then the Sunday night doesn't affect those tourists. For us other folks, need to find something else to do then. You guys here really haven't sold me on Thriller Live... 😆
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Post by TallPaul on Feb 16, 2018 13:29:40 GMT
If they are working on an equity contract, and I image everyone in a SOLT theatre is, Sunday performers are entitled to an extra payment of £61.71 until 1 April 2018, rising to £63.10 from 2 April.
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Post by daisy24601 on Feb 17, 2018 22:55:51 GMT
I've just spent a good hour reading this thread, interesting stuff!
One from me: I've heard a West End actor say after a year in a show he was getting the same notes so felt it was time to move on. What exactly would notes be? Little mistakes will happen and they might fluff lines etc. but that's to be expected, surely they don't need a director (or whoever it would be) coming down on them the next day telling them they did it wrong when they do it right every other night?
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Post by Deleted on Mar 1, 2018 9:10:56 GMT
What the heck is a universal standby? I was checking the Hamilton Broadway website and actress Jennie Harney is listed as "universal standby Angelica, Eliza, Peggy/Maria".
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Post by Mark on Mar 1, 2018 9:14:07 GMT
What the heck is a universal standby? I was checking the Hamilton Broadway website and actress Jennie Harney is listed as "universal standby Angelica, Eliza, Peggy/Maria". She covers the roles for all the productions of Hamilton in the US. Moreso for holiday cover than the odd nights. Easier to have one standby covering all the productions than one for each. |
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