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Post by coco on Aug 9, 2024 14:48:16 GMT
I was there last night, and I prefer the Menier Chocolate Factory's version back in 2019.
There are bits that I found funny, and this version is quite comical compared with the one in 2019. But I don't like the brass in the orchestra as they are a bit harsh (especially if you sit near the stage), and where do they find such a Motel that couldn't sing? It was a disaster when he sang. I couldn't bear him at all.
Also, I am not very into Julia Cheng's modern choreography (the same as in Cabaret), but it was Ok for me, unlike the orchestra and Motel part.
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Post by parsley1 on Aug 9, 2024 20:30:24 GMT
There is a passivity and apathy in this staging
In the acting and singing and music
Which detached me from this in a way I have never experienced with this musical
Elements of school production left me disengaged
The Menier production was far better executed
I don’t think this revival has anything new or revelatory to add
Left at interval
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Post by parsley1 on Aug 9, 2024 20:39:51 GMT
I was there last night, and I prefer the Menier Chocolate Factory's version back in 2019. There are bits that I found funny, and this version is quite comical compared with the one in 2019. But I don't like the brass in the orchestra as they are a bit harsh (especially if you sit near the stage), and where do they find such a Motel that couldn't sing? It was a disaster when he sang. I couldn't bear him at all. Also, I am not very into Julia Cheng's modern choreography (the same as in Cabaret), but it was Ok for me, unlike the orchestra and Motel part. Agree Motel is truly dreadful Sounds constipated And much of the singing sounds like a funeral lament or wailing Staging also weird Shoved into a part of the stage Lots of space wasted A pillar in the middle of the set And that dumb flyover |
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Post by ceebee on Aug 9, 2024 21:13:41 GMT
parsley1 you are my barometer on these things. If you dislike it, I usually end up loving it so thanks for your review!
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Post by Steve on Aug 9, 2024 21:43:22 GMT
I loved this so much I booked another ticket. I saw this from restricted view Row O (the restriction was just a bar it was easy to look over) the first time, and have booked it for Restricted View Row A coming up (with a view to seeing the performances from up close). I would only ever book this for the evening performance as the sunset is both aesthetically enhancing. . . Some spoilers follow. . . on account of the wheat field set turning silver and gold and because it's metaphorically enhancing as well, as the physical darkness coincides with the plot darkness. From Row O, there is an advantage over the front stalls in the sense that the Fiddler on the Roof is very obvious and visible (he sometimes lies among the wheat on the roof to overlook the action even when he is not playing) in relation to the rest of the action. The Fiddler is almost always in conversation with the action in this sense. 9 days ago, we had a magnificent orange glow from the receding sunset during "Sunrise/Sunset," which was astounding, but even though sunset will move a few minutes each day, I'm confident it will always enhance this production, and the sun is set in the second half, also I can't imagine judging this production fairly without witnessing the darkness as well as the light, as darkness and light are the story, not only the light. Anyhow, I'll share my thoughts on the performances when I see the show again. Sure, some will like this and some won't, and that's fair, and my view is that this show is very special, and matches the Menier production which I also loved. Vis a vis Motel's singing, it's clumsy, yes, but the character is that way, so why not? It tells the story of who he is, a character who comedically slides under a table in fear of his future father-in-law lol. Not everything about song has to be pristine. Was Judi Dench the best singer in "A Little Night Music" or was she the best interpreter of the character, after all? I've voted 4 stars in the poll, though I feel a fraction even more excited than that about seeing this again.  4 and a half stars from me. |
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Post by mkb on Aug 10, 2024 2:03:17 GMT
Checking notes, it appears I have never awarded fewer than five stars to a production of Fiddler. I love the movie too. I had high expectations indeed.
And how could I not adore a musical whose most famous number champions the subjunctive?
Well, tonight I learnt that it's possible.
There's nothing particularly bad about director Jordan Fein’s vision; it just never soars to the emotional crescendos of past versions.
As Tevye, Adam Dannheisser has no instinct for comic timing, and his jokes fall flat. He's not sufficiently larger than life. His reluctant journey from patriarchal traditionalist to tolerance and acceptance of more modern values, is meant to engender audience empathy at his plight, but, for the first time, I found myself not drawn along and not warming to the character.
There are no performances that excel. Everything is competently delivered or thereabouts with the notable exception of matchmaker Yente, an interpretation I thought to be embarrassingly sub am dram.
I pondered much on why the place name Anatevka is writ large along the front of the stage floor and also immediately above on the peeled-back "roof" in perfectly aligned mirror image. The effect is to look as if the identity of this time and place are engrained in the soil, only for the ground to be sliced through to reveal our story. It kinda works. That there are fields of wheat growing atop the ceiling adds to the effect.
The varied (presumably actors' own) British accents are distracting and unhelpful. Strangely, the couple of references to Kiev in Act 1 favour what we are now told approximates to the Ukrainian pronunciation, while the several utterances in Act 2 go with the Russian. Krakow was spoken in that odd way beloved of Americans to rhyme with cow.
Of course the most enjoyable aspect of Fiddler is its score, and the musicianship here is a treat for the ears from a sizeable orchestra. The final, slightly different, "fiddle" on the roof is an inspired touch, but the accompanying exodus does not pack the heart-rending punch it should.
Three stars.
Act 1:Â 19:47-21:15
Act 2: 21:39-22:28
It's been a few years since I last visited this venue. I was surprised that the inadequate toilet capacity has yet to be addressed, resulting in a rushed but extended interval. They could learn a thing or two from Kilworth House.
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Post by ceebee on Aug 10, 2024 7:41:09 GMT
I was surprised that the inadequate toilet capacity has yet to be addressed, resulting in a rushed but extended interval. They could learn a thing or two from Kilworth House. I'd heard about the interval rush. Men struggling to do up their flies whilst dashing back to their seats. Fiddlers on the hoof. |
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Post by ceebee on Aug 13, 2024 10:33:39 GMT
Extended to 28 September.
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Post by ladidah on Aug 13, 2024 10:44:14 GMT
Why is it starting so late? No wonder it isn't done until 10:30!
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Post by Being Alive on Aug 13, 2024 22:21:36 GMT
Adored this - much preferred to the Playhouse/Menier version which was a bit of a slog.
Beautifully cast, loved the design, loved the overall feel, gorgeous orchestra (loved the Fiddler) - I'm nearly 100 shows into 2024 and this is easily top 10.
Will be going again.
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Post by mkb on Aug 14, 2024 0:12:56 GMT
Why is it starting so late? No wonder it isn't done until 10:30! 19:45 is a very civilised start time for people who have a living to earn during the day. 20:00 would have been even better. The National with its anti-worker 19:00 starts for Grapes of Wrath could learn a thing. |
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Post by Jon on Aug 14, 2024 1:42:51 GMT
Why is it starting so late? No wonder it isn't done until 10:30! 19:45 is a very civilised start time for people who have a living to earn during the day. 20:00 would have been even better. The National with its anti-worker 19:00 starts for Grapes of Wrath could learn a thing. Grapes of Wrath is fairly long TBF |
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Post by theatrefan62 on Aug 14, 2024 7:15:47 GMT
Personally I find late finishes far more 'anti worker'. Got to get up early the next day, add in travel home time and any possibly issues in transport later at night.
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Post by ladidah on Aug 14, 2024 7:46:04 GMT
I agree
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Post by fiyero on Aug 14, 2024 8:16:14 GMT
I get why the late starts at Regents Park and adore the changes in light during the show but doesn't half make it a pain going home. I now tend to try and make sure I can stay up.
Looking forward to this. Booked for the night before I go out to Paris for the Paralympics so the start of a busy week!
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Post by ceebee on Aug 14, 2024 8:22:29 GMT
Must admit, I don't mind late starts at OAT. I just drive in, park in the inner circle and then have the relative luxury of stepping in to the car after the show and at least having a calm and civilised drive home. As for being anti-worker, I used to feel that way but I have now flipped my thinking and decided that work will always come second and that the doctrine of defined hours or shifts is anti-theatre. I know not everybody can adjust their working hours, but I must admit I do choose contracts now that give me the flex to work around my family and hobbies.
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Post by kallyloo on Aug 14, 2024 9:49:08 GMT
I was surprised that the inadequate toilet capacity has yet to be addressed, resulting in a rushed but extended interval. They could learn a thing or two from Kilworth House. I'd heard about the interval rush. Men struggling to do up their flies whilst dashing back to their seats. Fiddlers on the hoof. Even the disabled/baby changing toilets are a disgrace. Locks not working, toilet handles broken, out of toilet paper etc. imo it’s the one theatre I dread using the loo, and always use lots of hand gel afterwards. |
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Post by mkb on Aug 14, 2024 9:56:51 GMT
19:45 is a very civilised start time for people who have a living to earn during the day. 20:00 would have been even better. The National with its anti-worker 19:00 starts for Grapes of Wrath could learn a thing. Grapes of Wrath is fairly long TBF Last weekend, I clocked Fiddler at 2:58 (hh:mm) and Grapes at 2:48, so the latter was ten minutes shorter. And neither of those was my longest show, as Stranger Things came in at 3:07. |
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Post by ladidah on Aug 14, 2024 10:45:20 GMT
The toilet situation is mad there, usually hundreds queuing in the interval.
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Post by doornumberthree on Aug 14, 2024 13:39:47 GMT
I was absolutely blown away by this production - I have to add that I didn’t enjoy the Playhouse production and have never really liked the show (I love some of the orchestrations though) and I thought this was a completely 5* production. I was blown away by all aspects - Motel being a weak link but not enough to hinder my experience.
I can’t believe that I want to go back and see it again but I do
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Post by unseaworthy on Aug 14, 2024 22:22:59 GMT
The queue at the bar is always insane, I once tried to get a glass of water from the restaurant instead and was told I needed a reservation!
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Post by fiyero on Aug 15, 2024 11:19:31 GMT
The queue at the bar is always insane, I once tried to get a glass of water from the restaurant instead and was told I needed a reservation! I always try to bring a water bottle, there is a refill point between the loos and the entrance. |
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Post by ceebee on Aug 15, 2024 23:37:25 GMT
Superb - loved this evening's performance. I think the criticism of Motel is harsh - there is an innocence and charm to his portrayal. Sincere and believable. The fiddler is the real star of this show though.
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Post by d'James on Aug 16, 2024 1:21:01 GMT
The bar queues were extremely quick too.
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Post by ceebee on Aug 16, 2024 7:26:57 GMT
Is the bar music at Regent's Park sponsored by Billy Joel? Every second track was by Billy (not complaining as I think he's brilliant!).... Or is it a not so subtle hint that "Movin' Out" is on the cards for next season?
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