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Post by Deleted on Aug 16, 2016 0:45:50 GMT
It's a shame you didn't enjoy it as much as anticipated, but I do agree with you on the point of Carlyss Peer. I thought she was good, in great voice etc... but I didn't think it was a performance that "star-making" or incredible either. I don't think it is her fault, I think that is the way the role is just written. But whilst I thought she was good, I didn't think it was anything special. I certainly wouldn't say it is one of the best female performances on the West End at the minute for example. Good, but not incredible as made out in some reviews. But difference of opinion, some may find it an amazing performance. It's all about Andy Karl for me in this though.  |
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Post by nash16 on Aug 16, 2016 0:54:46 GMT
It's a shame you didn't enjoy it as much as anticipated, but I do agree with you on the point of Carlyss Peer. I thought she was good, in great voice etc... but I didn't think it was a performance that "star-making" or incredible either. I don't think it is her fault, I think that is the way the role is just written. But whilst I thought she was good, I didn't think it was anything special. I certainly wouldn't say it is one of the best female performances on the West End at the minute for example. Good, but not incredible as made out in some reviews. But difference of opinion, some may find it an amazing performance. It's all about Andy Karl for me in this though. Agreed. Karl is just fantastic. Just such a shame he's not in a better structured show. |
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Post by Deleted on Aug 16, 2016 0:59:07 GMT
It's a shame you didn't enjoy it as much as anticipated, but I do agree with you on the point of Carlyss Peer. I thought she was good, in great voice etc... but I didn't think it was a performance that "star-making" or incredible either. I don't think it is her fault, I think that is the way the role is just written. But whilst I thought she was good, I didn't think it was anything special. I certainly wouldn't say it is one of the best female performances on the West End at the minute for example. Good, but not incredible as made out in some reviews. But difference of opinion, some may find it an amazing performance. It's all about Andy Karl for me in this though. Agreed. Karl is just fantastic. Just such a shame he's not in a better structured show. With him being one of the strongest parts of the show, that matched with him being popular on Broadway etc could well get him a transfer with the show if/when that happens. I think his performance also puts him firmly in the nominations for Actor at the Oliviers, as the Old Vic is an eligible theatre! |
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Post by wickedgrin on Aug 16, 2016 2:50:03 GMT
Press Night tonight? I think the reviews will be important for this regarding transfers. The previews have not sold out despite the Matilda team names behind it.
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Post by Deleted on Aug 16, 2016 5:41:50 GMT
Has anyone sat in stalls P35? Website says it's behind a slim pillar, wondering if good value for £30.
Also, are there people here who liked this but disliked Matilda?
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Post by theatre-turtle on Aug 16, 2016 7:25:22 GMT
I strongly strongly preferred this to Matilda
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Post by Deleted on Aug 16, 2016 7:28:06 GMT
I strongly strongly preferred this to Matilda Good to know! I could recognise that Matilda was well done but found it extremely tedious. Hoping this one will sit better with me. |
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Post by Deleted on Aug 16, 2016 7:49:19 GMT
I agree with the above also that the Act II opener is a bit bizzare. Beautifully sung by Georgina Hagen but you do kinda go "huh" after it. But it is a chance for her to sing so I am happy there. It is nothing like When I Grow Up, in any way. It reminded me alot of Whatever Happened to My Part in Spamalot but more ballad and beautifully sung rather than shouted or insane.  |
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Post by dippy on Aug 16, 2016 8:41:46 GMT
Also, are there people here who liked this but disliked Matilda? Yes, I really didn't enjoy Matilda, I saw it once, and that was more than enough however I absolutely love Groundhog Day and have already seen it more than once. |
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Post by jampot on Aug 16, 2016 8:50:06 GMT
Also, are there people here who liked this but disliked Matilda? Yes, I really didn't enjoy Matilda, I saw it once, and that was more than enough however I absolutely love Groundhog Day and have already seen it more than once. 2 very different shows of which i enjoyed both immensely... i have seen groundhog 3 times so far... |
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Post by Deleted on Aug 16, 2016 11:19:56 GMT
We have musical versions of BIG and SLEEPLESS IN SEATTLE heading our way in the next year. Originality seems to be a gasping afterthought in today's musical world. We need to take more risks, and make sure our shows have drama and keep our audiences on the edges of their seats, not sat back with shoes and sock off (man in front of us tonight) and cosy familiarity. Huh? Les Mis, Wicked, Miss Saigon, Cats, Jesus Christ Superstar, Gypsy, West Side Story, Sweeney Todd, The Wizard of Oz, The Sound of Music, Oliver, Little Shop of Horrors, A Little Night Music, Rent, Lion King, Billy Elliot etcetcetcetcetcetcetc WHEN was this amazing golden age of musical originality?  ? |
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Post by Deleted on Aug 16, 2016 11:38:25 GMT
I agree with the above also that the Act II opener is a bit bizzare. Beautifully sung by Georgina Hagen but you do kinda go "huh" after it. But it is a chance for her to sing so I am happy there. It is nothing like When I Grow Up, in any way. It reminded me alot of Whatever Happened to My Part in Spamalot but more ballad and beautifully sung rather than shouted or insane. They do a song at the start of act 2 that does not have much to do with the plot in case people aren't in there seats and it won't effect there enjoyment, a bit like telly in Matilda. |
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Post by synchrony on Aug 16, 2016 12:47:47 GMT
I had mixed feelings about it but I did enjoy it.
I LOVED the staging, scenery and direction.
I loved the medicine number, the car chase and the suicide song. I also loved Rita's solo.
I loved Andy Karl, he was excellent.
I love the film, so I really enjoy the story.
But I agree with nash16 in that:
It didn't move me emotionally. I don't know why. Too self-aware? Too over-thought? I can't really put my finger on it.
I thought Carlyss was ok.
I wasn't convinced by the need for the tap number.
I liked Nancy's song as a song, but didn't really get it.
I do prefer Matilda, which emotionally moves me much more, and the School (Alphabet) Song is still one of the cleverest songs I have ever heard.
But I did really enjoy it and am glad I saw it. I suspect the tunes will grow on me (as they did with Matilda), so I am going again. I'll be interested to see how I feel upon second viewing.
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Post by Deleted on Aug 16, 2016 12:48:08 GMT
We have musical versions of BIG and SLEEPLESS IN SEATTLE heading our way in the next year. Originality seems to be a gasping afterthought in today's musical world. We need to take more risks, and make sure our shows have drama and keep our audiences on the edges of their seats, not sat back with shoes and sock off (man in front of us tonight) and cosy familiarity. Huh? Les Mis, Wicked, Miss Saigon, Cats, Jesus Christ Superstar, Gypsy, West Side Story, Sweeney Todd, The Wizard of Oz, The Sound of Music, Oliver, Little Shop of Horrors, A Little Night Music, Rent, Lion King, Billy Elliot etcetcetcetcetcetcetc WHEN was this amazing golden age of musical originality? ? It's been happening on Broadway for the last decade. Yes, there are still far more movie adaptations and jukebox musicals but New York is truly coming out with some original and brilliant musicals. It is sad that I'm excited about Groundhog Day just because it's a musical with an original score that is debuting in London and is mostly being received well, even if it is based on a film. That stuff happens in New York once every few months. Is Tim Minchin the only modern British composer that is able to write critically acclaimed musicals that transfer to Broadway like so many of theirs transfer to the West End? A shame if that is the case. |
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Post by dippy on Aug 16, 2016 13:14:31 GMT
What are people's thoughts on the last minute (well couple of days) cheap front of stalls seats continuing after the reviews are out? Basically I got myself a lovely £30 front of stalls ticket for tomorrow but I might have to do something else now. What chances do you think there are that dynamic price reductions will still be happening in front stalls seats next week or in the coming weeks? In other words, is it going to sell really well once the reviews are out?
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Post by Deleted on Aug 16, 2016 13:18:05 GMT
Huh? Les Mis, Wicked, Miss Saigon, Cats, Jesus Christ Superstar, Gypsy, West Side Story, Sweeney Todd, The Wizard of Oz, The Sound of Music, Oliver, Little Shop of Horrors, A Little Night Music, Rent, Lion King, Billy Elliot etcetcetcetcetcetcetc WHEN was this amazing golden age of musical originality? ? It's been happening on Broadway for the last decade. Yes, there are still far more movie adaptations and jukebox musicals but New York is truly coming out with some original and brilliant musicals. It is sad that I'm excited about Groundhog Day just because it's a musical with an original score that is debuting in London and is mostly being received well, even if it is based on a film. That stuff happens in New York once every few months. Is Tim Minchin the only modern British composer that is able to write critically acclaimed musicals that transfer to Broadway like so many of theirs transfer to the West End? A shame if that is the case. Well, no coz he's Australian |
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Post by Deleted on Aug 16, 2016 13:19:21 GMT
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Post by foxa on Aug 16, 2016 14:05:56 GMT
Honestly, Dippy, if you can use the ticket, I think you should. If nothing else, the reviews will draw attention to the fact the show is happening, and the PR machine will rev into higher gear. Quite possible the discounts will vanish, I'd say. I agree. |
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Post by dippy on Aug 16, 2016 14:16:42 GMT
Thanks @theatremonkey and foxa those were my thoughts too but I just wanted to see if others were thinking that way. That's one reason I decided to go again tomorrow when I saw the reduced seats because I thought it could be the last cheap chance of seeing it from the front of the stalls. Guess I've got to make up my mind soon, the other thing isn't something I have to do but it's work related, annoyingly in Bristol, and I kind of should go. I do know what I'd rather do though! |
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Post by charliec on Aug 16, 2016 14:20:22 GMT
Thanks @theatremonkey and foxa those were my thoughts too but I just wanted to see if others were thinking that way. That's one reason I decided to go again tomorrow when I saw the reduced seats because I thought it could be the last cheap chance of seeing it, so possibly my last time. Guess I've got to make up my mind soon, the other thing isn't something I have to do but it's work related, annoyingly in Bristol, and I kind of should go. I do know what I'd rather do though! I've done exactly the same thing for tomorrow too Dippy. Decided to take the opportunity (again!) whilst it was available. |
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Post by lolli on Aug 16, 2016 14:24:05 GMT
Are these cheap front stalls seats from the old vic website?
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Post by charliec on Aug 16, 2016 14:31:11 GMT
Are these cheap front stalls seats from the old vic website? Yes. £30 and then sometimes £21 have been popping up on the website sometimes a few days before and then on the day. Best bargain i got was a £90 for £21! Just keep checking the website basically. |
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Post by Deleted on Aug 16, 2016 14:52:40 GMT
It's been happening on Broadway for the last decade. Yes, there are still far more movie adaptations and jukebox musicals but New York is truly coming out with some original and brilliant musicals. It is sad that I'm excited about Groundhog Day just because it's a musical with an original score that is debuting in London and is mostly being received well, even if it is based on a film. That stuff happens in New York once every few months. Is Tim Minchin the only modern British composer that is able to write critically acclaimed musicals that transfer to Broadway like so many of theirs transfer to the West End? A shame if that is the case. Well, no coz he's Australian I guess. Born in the UK though. |
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Post by Deleted on Aug 16, 2016 15:46:18 GMT
Well, no coz he's Australian I guess. Born in the UK though. To Austrailian parents and raised in Australia and he doesn't live in the UK, definatly not a British composer |
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Post by Deleted on Aug 16, 2016 16:13:05 GMT
Well I meant more someone that is writing musicals that are originating in Britain instead of anywhere else.
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