Funny Girl

I feel like they won't announce it till after the Savoy run ends which in my opinion is rubbish! Everyone knows it won't Sheridan.

PRAYING for Natasha - although my bank balance won't be happy 

Leaving aside Sheridan entirely for a minute, this is the broader point I've been interested all along and why I replied to all of this in the first place.

What it seems to me you're saying is that because there is a score there is no room for interpretation, and to my mind that's simply not true. Yes, the notes are there to be sung and generally performers should be able to hit them, I don't think there's any question about that, and I've certainly never been trying to justify any instances where performers are out of tune.

But the question of whether they CAN hit the note is completely separate to the question of whether they HAVE TO hit the note. And by that I mean they have a choice as to whether they hit the note straight, riff, use excessive vibrato, trill etc. Each person who sings Defying Gravity sings the money note at the end differently, and as anyone who's read the Wicked thread will testify, fans even notice when the same performer does it differently at different performances. The score hasn't been re-written for them, it's a question of taking what is there and embellishing it with their own interpretation. And sometimes that does mean not hitting the note exactly in terms of pitch or rhythm as it's written in the score. That all goes beyond what the composer "says" should be sung, so does that mean any different interpretation that deviates in the slightest from the score is wrong? I don't believe it does, and I think it would be incredibly boring if it did, and there'd be no point having revivals of anything. You could make the same argument in terms of production design vis a vis the original production of a show, but people rarely get as excited about when the lighting is redesigned!

The same point goes for any performance of any musical composition - expression and interpretation are at the heart of all music, and to reduce it to saying "well the composer put it in the score so it has to be done that way" in my mind oversimplifies the very point of musical performance. But that's just my opinion.

Songs in the theatre are usually adapted to fit the singer, transposition is a given. The notes for 'Hello Dolly', for example are usually changed so that they are nowhere near what Channing used (and I would imagine that the keys changed for her as she got older as well. although her voice was always down there). Exceptions to the rule would include anything by Bernstein or Weill, classical crossover composers, who write and expect those notes (such as the Cunegonde high E Flat, although Bernstein did write alternates).

It seems to have been missed that shows, and songs, as written are just blueprints and will change within the same production, never mind between different productions. For those who collect scores, you can see that replacements often have keys changed.

I can't believe how fast this run has gone for the show! Only a month and a bit left to see the show, its crazy how fast it has gone!

How crazy! A year goes by so fast!

I can't help with the best time to arrive I am afraid for those days (I have only day seated on a Saturday and got there at 7am). The seats are in row BB which is the front row Amazing view.

We arrived at 9 and were fourth in the queue on a weekday. For a Sheridan performance.

Yeah both times I have been they have offered dotted around single seats too, especially in the stalls they believe.

I LOST TRACK - did George meet Sheridan?!

So glad you enjoyed it!!

Sheridan is amazing in that role, isn't she? I too love how she creates that strong connection between her and the audiences! She's naturally funny in the role but also amazing at the more emotional acting part and I too loved her singing!!

It'll be a shame to see this end soon but I'm so glad I got to see it and I'm so happy it's been a success!