Opening Night - Gielgud

Saw it for the second time tonight having seen an early preview.
I thought it was good at the preview I saw, I thought it even better now.
More coherent, songs streamlined so they fit better, humour comes through, cast still knocking it out of the park (Jennifer Hepburn a great Sarah cover.)
Sad this didn't appeal to a wider audience, but I still rate it very highly.

Blaming Brexit for his flop is certainly a choice. Sounds like Sheridan is taking responsibility for it (which she shouldn’t as it sounds like she was the best thing about it) while doofus Rufus blames everything but himself.

Rufus is just understandably upset. He doesn't realise that in this place, brexit is a massive success. He needs to name the real culprits: the blob, the anti-west end coalition, Gary Lineker and Alastair Campbell. At least his failure has resulted in £35 tickets for the front of the stalls, so it's not all bad.

I love Rufus, but this is a reach. He should wander down the West End and take a look at the full houses for the very European Les Mis.

This is absolutely ridiculous. Talk about an ego. I usually rate him very highly but to criticise audiences rather than accept that what you delivered might not be up to scratch is a really bad move.

The issue isn’t that this show is experimental. It’s that the material is bad. Rufus Wainwright writes brilliant songs, but what he’s written for this show is sub par and unsuitable for a narrative musical.

It frustrates me that someone would actively choose not to learn from this experience. He could take the learnings from this show, reflect on what worked and what didn’t, and write another, stronger piece where the music is part of the narrative and drive rather than repeated choruses which are often irrelevant. But no, it’s just stupid audiences and Brexit.

I’m also disheartened that Sheridan Smith is feeling responsible. She’s the best thing about this show, and - IMO - the reason much of the audience is still there. How dare they allow her to feel responsible. She has no reason to. She’s delivering a brilliant performance and attracting an audience despite the bad material she’s been handed.

The show’s creators could learn a lot from her humility.

I’m not sure he’s saying it’s based on politics - but that audiences have become insular/unable to appreciate avant garde European musicals in the west end since Brexit apparently. Which is just as ridiculous a statement on many levels.

Also makes me laugh as his music is hardly avant garde/experimental

The 'it can't possibly be me, it's you' wail of a narcissist.

I’m not sure this is a post Brexit thing though is it? And if it is I suspect more likely due to the cost of living crisis possibly ( so people spending less and more likely to spend on things they feel confident they will like? - pure speculation as I have no evidence behind this!)

I was reasonably polite in my comments when I saw this unsatisfying and unsatisfactory musical but to try and blame its failure on politics - and presumably the audiences - is to be completely out of touch and shows a lack of critical faculties. It simply isn't good enough and Sheridan really should not blame herself, she did everything possible with the average material available to her.

I've followed Rufus' career from the very beginning - I actually vastly prefer Martha's work - and I would say that a little talent, if spread too thinly, ends up being tiring and off-putting. He should be less prolific and more discerning.

For me, his music was just a part of a worse show. But – oddly – even immediately when leaving the theatre, I couldn't recall even one lyric or one snippet of melody. Not even vaguely. No clever earworms, no musical flourishes, just… nothing. Admittedly, there was a lot happening on stage fighting for my derision attention, so his songs must've been the first things for my mind to say 'nah' to when working out what it could get away with not processing.

I've had a quick response to my complaint and they have invited me back. Dilemma. 

It’s quite bizarre

You would think getting a sh*t your face MIGHT

Lead to some introspection

But no

TBH it should be a lesson not to get involved with Van Hove

Unless you are willing to take a massive massive risk

He is not a populist director and always divides critical opinion

And certainly doesn’t direct “to be liked”

The hard truth remains

It’s hurts to be disliked or for your work to be slurred or not loved

And a grown man in his 50s should get over it


Perhaps he can write a new album about the experience as a form of catharsis