Show Boat

I would love this be recorded

Bring back MX for it purely because his voice is stronger and beef the orchestra up with lots of strings

I so hope this cast is recorded. The score is played beautifully!

Seeing it again this afternoon and cannot wait!

Spoiler Alert!
A lot of people say this and, of course, who wouldn't want to hear more songs from Rebecca Trehearn?  But I would argue that we do know what happens to Julie. Deep into alcoholism, she walks away from her "last chance" job. To my mind, she's not long for this world. Others may have a different idea and I think its fine to be left open to other interpretation, but there is certainly enough information there to know there is no happily ever after for Julie. The take-away is that Julie knows this when she makes this sacrifice for someone who loved her unconditionally back at the last happy time in her life. I would also note that Julie disappears in similar, if not identical, fashion from the original novel.

I agree that the ending with Gaylord is hard for modern day audiences to accept (me included), but I think this production does the best job I've ever seen with how it is handled.  We are shown with a very subtle gesture that Gaylord has conquered his drinking problem when he refuses the beer offered by Captain Andy.  He's obviously a broken man. But what I commend this production for is that there is a lot more ambiguity at the end than I have seen anybody mention.  I've seen productions where Gay and Magnolia embrace and are arm-in-arm at the end and Magnolia tells her father that "this is a nice surprise." That most decidedly does not happen here.  There is 20 years of hurt on Magnolia's face as she sees Gay, and they never get closer than several paces apart.  And while everyone signals Kim that it is okay to go to her father, at the end Magnolia is alone on the upper deck of the boat, which reminded me of Parthy looking down on everything at the beginning of the show.  The innocent, carefree young girl Magnolia was is long gone.  Maybe a little is forgiven, but not at all forgotten.

Is it up to the right's holders or the producers of the production?

Are there any offers on tickets for this? I'm assuming there must be seeing as it's coming off.

Sooo want to see it but can't bring myself to pay lots for a ticket.

First row seats are around 39 and there are some that are around 25, I think. Alternatively you can literally get the cheapest seat in the house and you can either move if there's space or stay where you are and you'll still be fine. It's a rather small space and I feel that there are no bad seats in the house.

Great audience this afternoon. About 80% full. Circle was a bit patchy, and mostly a standing ovation! Brilliant performances, Malcolm Sinclair has really come into his own. He seems to be having a lot more fun with the part.

Gutted this is closing early. I hope people, especially keen theatre goers give it a chance! It really is the best thing on offer at the moment and if we don't go, who will?

I can't say I was as enamoured with this as everyone else. I found it a fascinating piece of history, and had some lovely moments, but it was a flawed piece in a production that didn't do much to fix those flaws.

The good:
Some great performances in a few rolls (partially Rebecca Trehearn's).
An incredible orchestra sound, with each instrument very clear and balanced.
A very intimate space and staging, so you didn't feel far from the action.
There were some witty lines peppered throughout, and wit is something a lot of musicals lack.
Audience well behaved, and when a small disturbance started in the stalls, an usher swooped immediately.

The bad:
I thought the set and costume designs were dull, overly simplistic and uncolourful for the most part. I know the Show Boat is meant to be a little run down but there was an awful lot of greys on stage. And why they didn't have a bit of steam and whistles to give a bit of life to thing is a mystery to me.
The vocal sound when characters were downstage was horrible! I understand why, with nowhere to get speakers where they need to be on a thrust stage with a very high roof, but people sounded like robots and it made even simple dialogue difficult to understand.
Others' have outlined the story's flaws better than I.
I understand why they had cast come into the audience for certain scenes to add "immersion", but having them chat in character a few feet away when you are trying to enjoy a number was bloody annoying.


I am glad I saw it, as it is the starting point for all musical theatre, but for me it is definitely not worth a return visit.

Is the sound issue something people have noticed during the New London run? I think the problem is actors being far nearer than the speakers, so hear the actor's natural voice and then the speaker's amplified voice a split second later, but late enough to muddy the sound. Perhaps there was an issue with the system last night if this is a new problem. 

Yes, we were sitting side stalls (quite early on in the run)at the New London, and the sound was very poor at times, even though we were quite close to the stage. I remember commenting on it.

Found this really tedious, I'm afraid. Top problem: muddy sound!

As a piece it is so dated and left me totally unengaged emotionally.

Sorry, but the guy playing Joe could not reach the lower notes.

Such a disappointment.