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Post by intoanewlife on Aug 18, 2019 21:13:23 GMT
that does sound distracting though this isn't necessarily a weakness of the show itself but of the direction of that specific production. I don't think either of Malloy's shows that are being done here are being directed by their original directors - Chavkin I believe directed Preludes so although she has experience working here and a continued relationship with Malloy she may not necessarily direct this whenever it arrives and so these issues might be done away with. Also I imagine in a smaller space it would be harder to be distracted. She also did Hadestown at the National. In my eyes, Hadestown is an echo of Mr Malloy’s work. Mitchell has said that some of it is directly inspired by Comet. If you crossed the staging of Hadestown with An American Clock, you pretty much had the Broadway staging of Comet. |
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Post by intoanewlife on Aug 18, 2019 21:18:10 GMT
During the Prologue there is so much going on around you you rarely even looking at whats going on on the main stage. Not to mention depending on where you are sitting there are dancers dancing on a stage in front of you blocking it, or a violinist in your ear and all you can hear is the violin, it's all a bit full on. Any of the big production numbers are like that. Not that I'm complaining as it's amazing, but it does take you out of the narrative of the show at some important points. that does sound distracting though this isn't necessarily a weakness of the show itself but of the direction of that specific production. I don't think either of Malloy's shows that are being done here are being directed by their original directors - Chavkin I believe directed Preludes so although she has experience working here and a continued relationship with Malloy she may not necessarily direct this whenever it arrives and so these issues might be done away with. Also I imagine in a smaller space it would be harder to be distracted. I can't wait for Ghost Quartet, I loved it off Broadway. Not seen Preludes yet, so very excited for that one too. |
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Post by intoanewlife on Feb 10, 2020 21:29:50 GMT
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Post by pianowithsam on Feb 10, 2020 21:37:05 GMT
Simply beautiful but expected no less. Mr Malloy's use of themes is incredible. The insertion of the 'No One Else' intro in the middle is stunning. |
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Post by intoanewlife on Feb 10, 2020 21:38:15 GMT
The insertion of the 'No One Else' intro in the middle is stunning. It sent a shiver down my spine and my eyes welled...GOD I miss this show!!! |
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Post by pianowithsam on Feb 10, 2020 21:39:15 GMT
The insertion of the 'No One Else' intro in the middle is stunning. It sent a shiver down my spine and my eyes welled...GOD I miss this show!!! Preach. Malloy's themes are just incredible. The use in Ghost Quartet is simply sublime. |
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Post by intoanewlife on Feb 12, 2020 17:48:23 GMT
Some more good news!
Concord Theatricals has announced that Natasha, Pierre & The Great Comet of 1812 is now available for licensing to professional theatres via its Samuel French imprint. Created by three-time Tony Award® nominee Dave Malloy, The Great Comet was the most Tony Award-nominated show of the 2016-17 Broadway season. For more information visit concordsho.ws/PerformComet
"I am overjoyed and thrilled that The Great Comet is finally getting launched into the world," said Malloy. "I cannot wait to come see all the new visions and reimaginings of directors, performers, and designers breathing new life into this piece that is so dear to me."
"Concord Theatricals is proud to represent The Great Comet, which has already seen innovative stagings both on and off Broadway, in Boston, and around the world," said Sean Patrick Flahaven, President of Concord Theatricals. "Having been fans of the show since Ars Nova, we look forward to seeing how our professional theatres further push the envelope with Dave Malloy's groundbreaking hit musical."
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Post by zahidf on Feb 12, 2020 20:03:39 GMT
Some more good news! Concord Theatricals has announced that Natasha, Pierre & The Great Comet of 1812 is now available for licensing to professional theatres via its Samuel French imprint. Created by three-time Tony Award® nominee Dave Malloy, The Great Comet was the most Tony Award-nominated show of the 2016-17 Broadway season. For more information visit concordsho.ws/PerformComet "I am overjoyed and thrilled that The Great Comet is finally getting launched into the world," said Malloy. "I cannot wait to come see all the new visions and reimaginings of directors, performers, and designers breathing new life into this piece that is so dear to me." "Concord Theatricals is proud to represent The Great Comet, which has already seen innovative stagings both on and off Broadway, in Boston, and around the world," said Sean Patrick Flahaven, President of Concord Theatricals. "Having been fans of the show since Ars Nova, we look forward to seeing how our professional theatres further push the envelope with Dave Malloy's groundbreaking hit musical." Someone tell southwark playhouse... |
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Post by pianowithsam on Feb 20, 2020 13:51:39 GMT
Get excited people.
Not Comet though if you read the comments.
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Post by david on Feb 20, 2020 15:12:41 GMT
Get excited people. Not Comet though if you read the comments. For a minute, I thought it was BurlyBeaR posting a selfie on his way to watch Funny Girl in Paris! |
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Post by intoanewlife on Jun 7, 2020 17:44:31 GMT
West Coast premiere by a theatre company in Berkley coming next year x
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Post by danb on Jun 7, 2020 19:53:35 GMT
Somebody put it in the Roundhouse in Camden for a season or tear the Gillian Lyne up a bit and stick it in there to die the death that anything remotely interesting or truly creative does in our West End. If Hadestown can’t drum up a West End showing this has no chance.
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Post by ThereWillBeSun on Jun 8, 2020 12:49:49 GMT
Somebody put it in the Roundhouse in Camden for a season or tear the Gillian Lyne up a bit and stick it in there to die the death that anything remotely interesting or truly creative does in our West End. If Hadestown can’t drum up a West End showing this has no chance. Love these suggestions! Saw it on Broadway and was blown away by the set design and lighting. Didn’t warm to it but once I listened to the cast recording it grew on me massively ☄️ |
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Post by intoanewlife on Jun 8, 2020 12:53:04 GMT
Somebody put it in the Roundhouse in Camden for a season or tear the Gillian Lyne up a bit and stick it in there to die the death that anything remotely interesting or truly creative does in our West End. If Hadestown can’t drum up a West End showing this has no chance. It is about 4 million times better than Hadestown x |
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Post by danb on Jun 8, 2020 15:53:57 GMT
Somebody put it in the Roundhouse in Camden for a season or tear the Gillian Lyne up a bit and stick it in there to die the death that anything remotely interesting or truly creative does in our West End. If Hadestown can’t drum up a West End showing this has no chance. It is about 4 million times better than Hadestown x I struggled to find anything to compare it to. 😬 |
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Post by intoanewlife on Jun 8, 2020 16:58:52 GMT
It is about 4 million times better than Hadestown x I struggled to find anything to compare it to. 😬   |
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Post by stuart on Jun 9, 2020 10:11:19 GMT
Somebody put it in the Roundhouse in Camden for a season or tear the Gillian Lyne up a bit and stick it in there to die the death that anything remotely interesting or truly creative does in our West End. If Hadestown can’t drum up a West End showing this has no chance. I think it could do well if they sold it on the basis of its innovative set design but it would need the right theatre to ensure both the layout works but remains financially viable. Might also need a marquee name to sell it but surely Alfie Boe will be in need of a bit of cash post-Covid? I wonder if The Hippodrome could work? The space used for Magic Mike might be a bit small but could fit in with the theme. |
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Post by abitoftap on Jun 9, 2020 11:49:01 GMT
We saw it twice. Once in the tent down by the High Line, and later on Broadway.
First time only four us on a table for eight (plus Rachel Chavkin taking notes), so lots of food. Dave Malloy took the lead. Probably one of the most exciting things I've seen.
On Broadway they made the best they could of a large theatre,(and no food!). Josh Groban wasn't a patch on DM. Having said that, I doubt it would have got on Broadway without him. Look at what happened when he left.
The off Broadway recording is the better of the two
Please not Alfie Boe though.
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Post by intoanewlife on Jun 9, 2020 13:49:50 GMT
We saw it twice. Once in the tent down by the High Line, and later on Broadway. First time only four us on a table for eight (plus Rachel Chavkin taking notes), so lots of food. Dave Malloy took the lead. Probably one of the most exciting things I've seen. On Broadway they made the best they could of a large theatre,(and no food!). Josh Groban wasn't a patch on DM. Having said that, I doubt it would have got on Broadway without him. Look at what happened when he left. The off Broadway recording is the better of the two Please not Alfie Boe though. I saw 3 of the Pierre's on Broadway. Josh, Stuart and Dave and I thought Josh was by far the best overall. His voice was phenomenal and he brought a lot more comedy, heart and awkwardness to the role. Plus he was more the right age as the other 2 looked older. I thought Stuart was the best actor of the 3, but his vocals were the weakest by quite some margin. I saw Dave when he got dragged back into it after the Oak fiasco and his performance felt a bit phoned in, he just felt like he was playing himself. I am sure he was quite different under better circumstances and I saw him at the start of week and then end of week and his voice improved quite dramatically very quickly. I MUCH prefer the Broadway recording to the Off-Broadway though, the production is hella improved and Josh's vocals are amazing. I got food 7 out of the 8 times I saw it  |
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Post by abitoftap on Jun 9, 2020 15:26:52 GMT
DM seemed more real to me. I guess a combination of the (much) more intimate staging and in a way, less strong voice. I think that's why the OB recording is my preferred as well
At Broadway prices, couldn't afford a seat with food!
With whoever, I'd love to see it again!
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Post by intoanewlife on Jun 9, 2020 16:23:47 GMT
DM seemed more real to me. I guess a combination of the (much) more intimate staging and in a way, less strong voice. I think that's why the OB recording is my preferred as well At Broadway prices, couldn't afford a seat with food! With whoever, I'd love to see it again! Yeah I am sure it was a completely different experience in the tent. I'd love it if they did it that way here! I got food in all sections I sat in! In the balcony 3 times, on stage 3 times and in the stalls once! I got a shaker every time as well! The pit/stage seating was amazing, so close to the action and you could see all the goings on in the stalls and the balcony. My last viewing I got picked by Mary as her 'suitor' because I was the only male in the pit. It was so embarrassing! |
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Post by abitoftap on Jun 9, 2020 16:35:43 GMT
We got the shakers both times.
In the tent you got vodka shots before it started as well!
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Post by intoanewlife on Dec 2, 2020 18:57:07 GMT
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Post by BurlyBeaR on Nov 8, 2022 18:27:44 GMT
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Post by idinafanzel on Apr 24, 2024 12:08:40 GMT
It seems auditions are happening currently for Natasha, Pierre & The Great Comet of 1812 at the Donmar for later on this year …
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