Roadshow, Union Theatre

I love the Union too and am booking to see this. Biggest problem with the Union (apart from the damp smell, which I think adds to the charm) is the pillars.

Depending on the layout for that particular show, the pillars can be a small irritation - hence the advantage those in the first 20 or so to get in have.

Love the Union too. we're going on Valentine's day (aaah). Thought they were meant to be moving to their new space about now, must be delayed or I've goy it wrong (again).

or a drink from the bar

The State of the Union (toilets) is quite special

Despite the loos and pillars I love it. I generally turn up an hour before to get a good baggy on seats

I wonder what the new theatre will be like, I hope they manage to maintain the great atmosphere and shabby chic look

Anyone know the casting for Road Show?

A drink from the bar sounds a much better idea to me.
Thanks to everyone for your very helpful information.

I saw the first showing of this last night. As I said on the previous board, this is the one Sondheim show I really don't get. I find it hard to blieve that there is a Sondheim show I just can't enjoy at all, and I wanted to give this another go after the Menier production left me cold (as do both cast recordings).

First of all, this was really well performed and the direction/design were pretty stylish (aside from the annoying decision to have the actors mime some props and not others). BUT, boy, is it a dull show. There's just no spark to it at all, in my opinion. The songs sound at best like Assassins offcuts or at worst like Sondheim going through the motions (endless patter songs with too many words set to pedestrian accompaniement.) The true-life story is way too episodic to make a strong musical and the characters, who should be fascinating, just never come to life.

I'm well aware this is just my opinion, but what fascinates me is how someone as experienced and brilliant as Sondheim managed to produce this, a show that feels as dried up as a fallen autumn leaf. How does it manage to fall so far from what he usually achieves? Although I don't love every one of his other shows, there isn't one that I don't at least admire and there isn't one without a handful of really sharp, memorable numbers and intriguing ideas running through it. Is it age? Is it tiredness? Was it simply reworked too many times? And is there a single number from this show that stands any chance of becoming a Sondheim standard? I'll be interested to see if anyone else feels the same way!

Running time was about 100 minutes with no interval. It's a tiny theatre so there's no raised stage - it's just the flat floor in front of the chairs, which for this production are set up in one block on the lh side as you enter (the Union varies its layout from show to show).

There are no day seats as such - just whatever is left on the night if that evening hasn't sold out in advance. No offers either that I know about - I imagine that the running costs are such that they need to sell out at the advertised price, something which most Sondheim shows there do with little problem.

Just back from the second preview and agree with what you said before. I'm a HUGE Sondheim's fan and yet this one is okay but nothing more. there are some nice, sharp lyrics, but it's not the most exciting show. It's well directed and performed by everyone involved, I'm glad I saw it, I enjoyed it, but it's not a memorable piece of work.

LOVED the John Doyle production(saw it at the Public Theatre in New York and at the Choc Factory) - think there are some seriously great songs in the score (Notably THE BEST THING THAT EVER HAS HAPENED, WASTE, ISN'T HE SOMETHING?, GET OUT/GO and the ravishingly beautiful YOU). It may not be Sondheim's best score but any Sondheim score is stronger than pretty much anything else out there. Really looking forward to seeing this new production on March 5 (love the Union - my favourite theatre in London!).

I too went to yesterday's matinee, and really enjoyed it. It was a very good production of this obscure little gem. However, for me, the John Doyle/Menier production was still far superior. That was just so inventive in its staging, that I find it difficult to separate myself from it. I do not wish to dimish the quality of this production though, as this was still well directed, and I liked so much of it. Go if you can. I can't imagine there will be another production for a while, once this has finished.

*** Spoliers ahead ***

As others have said this isn’t Sondheim's finest and some of it does sound like underscore but the score to the second half is really strong, very enjoyable and I do love “The best thing that has ever happened"

The casting and the production is really good with many aspects of production appearing stronger and more coherent than the Menier production. This production does address one of the plot of holes; Addison’s gayness appears to spring from nowhere. Now when he is shagging his way around the world, the second half (Florida) does seem more natural. I always thought in ‘Addison’s trip’ he was just unlucky but now with his many sexual encounters it appears to make sense that his foreign business ventures fail.

The other aspect is how Addy suddenly becomes an architect – I know in real life he had no professional training. But here we have no voyage of how this comes about. Let's bring back the lovely "little house for mamma"
I also feel the reactions to Mamma’s death could be explored more. But hey hum.

I did like the final message of bringing the piece into the modern day. Also the mirror frames the action rather well (see what I did there?!) and the use of the typewriter – all splendid stuff. I'm not sure if Pappa doubling as the older Addy makes sense but I did like Pappa doubling as "Gold" and "land boom" guy - makes perfect sense to double that part.

I would totally recommend this production. Go go go!

I suspect we won’t have a production for a long while.