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Post by osdtdg on Mar 9, 2024 11:53:08 GMT
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Post by usbuzzer on Mar 9, 2024 13:56:10 GMT
I've seen this in a cinema a few months ago in a Korean version with subtitles and it was so bizarre. I didn't make it to the end, left in the middle of Act 2 😅 Maybe they'll adjust it a little bit while translating so it's more like other London shows.
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Post by max on Mar 9, 2024 14:12:12 GMT
There was a well performed industry showcase at The Other Palace a few months ago. The feedback questions they put out afterwards were very much about what would play well & with clarity for a UK & USA audience.
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Post by SamB (was badoerfan) on Mar 9, 2024 17:00:31 GMT
This is somehow just the most Charing Cross Theatre thing ever.
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Post by max on Mar 9, 2024 17:26:10 GMT
This is somehow just the most Charing Cross Theatre thing ever. The show has a pedgree, and is good enough/big enough to merit 'West End' while benefitting from being without the initial big pressure of a SOLT West End house. But I agree after 'The Braille Legacy' and 'Allegiance' there may be niche for life-story musicals at Charing Cross Theatre that appeals to a specific but quickly used-up audience base; not a bad thing, but one that risks feeling a bit dusty/worthy-historical. (Ah 'Dusty'!) For that reason: I hope they go back to in-the-round for this, or ANYTHING that stops someone making an awful set, and forces that energy instead onto lithe clever stage pictures made just with people and some benches/tables or whatever. 'Pippin' was really good there, just on cast talent and some tie-dye. I saw a clip of the Korean production that pointlessly had Marie and someone who idolises her up on massive metal wheeled structures that finally meet - effortful spectacle that didn't convince as a way of making 'the big duo ballad' theatrical. |
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Post by osdtdg on Mar 10, 2024 0:03:19 GMT
I've seen this in a cinema a few months ago in a Korean version with subtitles and it was so bizarre. I didn't make it to the end, left in the middle of Act 2 😅 Maybe they'll adjust it a little bit while translating so it's more like other London shows. There's a couple clips floating around on youtube, albeit with Polish subtitles. Unfortunately, I dont speak Korean or Polish so I had no idea whats going on, but it was obviously supposed to be emotional and while the vocals were great something was missing. Maybe if I understood, I'd get it more. I have hope for this one, but I am a bit concerned that they are crediting someone for "literal translation"... hopefully they do more work on it than just that |
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Post by oxfordsimon on Mar 10, 2024 0:52:59 GMT
Am sure it will get glowing reviews...
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Post by osdtdg on Mar 12, 2024 20:47:57 GMT
Bit the bullet and booked this one... keeping expectations low
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Post by osdtdg on Apr 12, 2024 8:22:30 GMT
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Post by jr on Apr 12, 2024 11:45:20 GMT
Am sure it will get glowing reviews... hahaha Maybe there is a glowing Curie in the final number! |
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639 posts
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Post by ncbears on Jun 1, 2024 15:43:38 GMT
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Post by mattnyc on Jun 1, 2024 17:38:35 GMT
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Post by PineappleForYou on Jun 1, 2024 21:54:05 GMT
When is the first performance now? Was going to go tonight out of morbid curiosity but the preview was cancelled. Apparently they need more tech time. |
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Post by capybara on Jun 7, 2024 8:49:50 GMT
Has anyone seen this yet? Thinking of catching this Wednesday’s matinee but unsure without any decent ticket offers around.
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Post by osdtdg on Jun 7, 2024 9:40:11 GMT
I've got Wednesday evening, but I'm an out of towner and didn't want to risk rush/loterry/offers because I knew I'd been interested to see what this is like. It does surprise me there aren't any major offer schemes with how poorly next week is sold!
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Post by winonaforever on Jun 7, 2024 11:19:15 GMT
I'm going on Sunday, will report back.
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Post by blamerobots on Jun 7, 2024 11:50:45 GMT
I'll skip out on this, past few Charing Cross Theatre things have made me sort of wary. They do this promo thing where they show people singing a song or two from the show and then quality may vary when you go. Please, let us know what it's like Theatreboarders.
Thinking of Rebecca, which had the polish and shine of an amateur secondary school production. Great music though.
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528 posts
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Post by vabbian on Jun 8, 2024 19:53:55 GMT
3 stars
Was at press night yesterday. Liv Andrusier sat in front of me! Love her
It was just okay. Nodded off a bit halfway through. I feel this would've benefitted from an interval.
Alisa and Chrissie are wonderful singers.
Not sure what else to say really, it is just very mid - very charing cross.
If you can get a cheap ticket (£15 or so - there are offers out there) then it's an ok evening at the theatre !
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Post by winonaforever on Jun 10, 2024 6:21:09 GMT
Well I really liked this. I was mostly there to see Ailsa Davidson and she was excellent, beautiful vocals as always. Actually, I enjoyed the performances of the whole cast.
The songs were fine, not memorable to me at first hearing, I was thinking I'd have to see the show a couple more times to really get into the music (I certainly didn't dislike it) I cried my eyes out too, I found it very moving.
I'd definitely like to see it again.
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Post by osdtdg on Jun 12, 2024 20:52:04 GMT
Finally saw this, and my one question is: out of all the ways to frame and structure this, why did they choose this one?
It did not work for me at all, but I did like the cast and the set was good for the small space. I didn't understand the need for the projections though?
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Post by max on Jun 12, 2024 21:22:26 GMT
Not having an interval feels like a mistake to me. I saw the showcase at The Other Palace and there was an interval there. The story definitely has enough breakthroughs and dark intimations to make one of them a good interval point. This piece has had some criticism for leaping headlong through history, sometimes disregarding human feeling on the way; an interval is a good way to excuse some of those time jumps (as in 'Evita' using the interval to skip an Argentinian election campaign, starting Act 2 at the point of victory).
I'm suspicious of things without an interval, wondering if it means they're unconfident people will come back. Other times you absolutely don't want the flow to be broken. I enjoyed the showcase and think they could remove a potential negative for more tentative bookers. Most things don't become a deeper or more serious experience by making them gruelling.
I'm still looking forward to seeing how the show has developed.
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Post by max on Jun 12, 2024 21:35:46 GMT
Finally saw this, and my one question is: out of all the ways to frame and structure this, why did they choose this one? It did not work for me at all, but I did like the cast and the set was good for the small space. I didn't understand the need for the projections though? Do you mean: 'two women meet on a train, one brilliant, one more ordinary, setting out on their lives quite separately, and then meeting much later - by which time one has unwittingly deeply affected the life of the other'? I didn't mind that, but.... {Spoiler - click to view}
Based on a previous version, and the Korean original, the forgiveness shown just softened it far too much for me. That left it feeling like the train companion only existed in order to return and be the 'great forgiver' at the end - letting Marie off the hook for many very grey ethical choices. That is a very schematic frame, and not necessary - areas of grey are so much more interesting in hero/heroine figures. |
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Post by osdtdg on Jun 12, 2024 21:55:44 GMT
Finally saw this, and my one question is: out of all the ways to frame and structure this, why did they choose this one? It did not work for me at all, but I did like the cast and the set was good for the small space. I didn't understand the need for the projections though? Do you mean: 'two women meet on a train, one brilliant, one more ordinary, setting out on their lives quite separately, and then meeting much later - by which time one has unwittingly deeply affected the life of the other'? I didn't mind that, but.... {Spoiler - click to view}
Based on a previous version, and the Korean original, the forgiveness shown just softened it far too much for me. That left it feeling like the train companion only existed in order to return and be the 'great forgiver' at the end - letting Marie off the hook for many very grey ethical choices. That is a very schematic frame, and not necessary - areas of grey are so much more interesting in hero/heroine figures. No, more the daughter framing thing. I dont feel it added much depth to the story, and was really only a tool for the inspirational ending; which felt unearned. I also wasn't a fan of the pacing |
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Post by winonaforever on Jun 13, 2024 5:48:15 GMT
I liked the projections, and I really liked the lack of interval. Intervals generally break the mood for me, especially in a particularly dramatic show.
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Post by capybara on Jun 13, 2024 9:31:02 GMT
This was actually better than I’d been expecting. For me, the main appeal of Marie Curie was the opportunity to see Ailsa Davidson back on a London stage after being so impressive as Veronica in Heathers a few years back and she did not disappoint.
Davidson portrayed Curie with nuance, empathy and incredible vocals! Admittedly none of the score is particularly memorable here but she and the rest of the cast really sold the story.
At one hour 40 minutes with no interval, the story of Curie’s discovery of radium and its virtues (as well as, subsequently, consequences) is actually rather compelling. Although the narrative never quite has you on the edge of your seat, the book and score combine relatively well.
The theme of forgiveness did feel incredibly misplaced and clunky towards the end, however. I believe this is an English language translation of an originally Korean piece? That would make sense because, like Rebecca which was performed at the same venue, some of the lyrics sounded bizarre and steeped in exposition.
But, overall, this was an enjoyable new musical and gives genuine insight into the life of one of history’s most remarkable figures.
Three stars.
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