|
|
Post by Deleted on May 4, 2016 22:15:42 GMT
I'm still convinced that the original production and 1st tour translated the film to stage very well. It's just the changes that were made in the subsequent tours that have done the musical no favours. The second tour added the lesser songs from the film whilst cutting out the childcatcher's only song. This current version takes ages to get going whilst the songs have been slowed down Does the car still wobble up and down whenever anyone clambers on it? And simply making it go up and down in the air doesn't cut it for me. Cant fault West Yorkshire Playhouse for giving this musical a try, but this needs a fully-fledged production to be truly magical. 'Fraid so. Is the car meant to turn sideways as the projection moves to a landscape shot of the countryside or does it deliberately look like its careering out of control, as it always looks face on to the audience? Maybe I'm doing it a disservice, but I like to see the good in most things. It just happens that today was more of a challenge for me than usual. |
|
888 posts
|
Post by longinthetooth on May 4, 2016 22:16:50 GMT
I never saw the original stage show, but the kids in the film made my ears ache. Could their voices have screeched any higher?
|
|
|
|
Post by Deleted on May 4, 2016 22:19:23 GMT
I never saw the original stage show, but the kids in the film made my ears ache. Could their voices have screeched any higher? If this was the first show I'd seen with kids in, it would certainly guarantee that I'd vow never to do so again. I was actually rooting for the child catcher to get rid of them. |
|
1,013 posts
|
Post by talkstageytome on May 4, 2016 23:11:39 GMT
I loved it at the WYP despite it's faults, but one thing I could not get over was the way Hushabye Mountain was sped up?? It made no sense to have such a lovely tender moment rushed through, was very jarring as everyone knows the original tempo, and really took me out of the moment. Couldn't understand why anyone thought that speeding it up made any sense at all.
|
|
422 posts
|
Post by carmella1 on May 4, 2016 23:13:51 GMT
So they did not slow it down. I was hoping with the new cast they would.
|
|
1,013 posts
|
Post by talkstageytome on May 4, 2016 23:17:16 GMT
So they did not slow it down. I was hoping with the new cast they would. Oh did they not? I've not seen the tour yet. I can't understand it! May catch it in Canterbury this summer, but I'm not going to go out of my way to see it again. |
|
270 posts
|
Post by stageyninja83 on May 4, 2016 23:34:18 GMT
I'm still convinced that the original production and 1st tour translated the film to stage very well. It's just the changes that were made in the subsequent tours that have done the musical no favours. The second tour added the lesser songs from the film whilst cutting out the childcatcher's only song. This current version takes ages to get going whilst the songs have been slowed down Does the car still wobble up and down whenever anyone clambers on it? And simply making it go up and down in the air doesn't cut it for me. Cant fault West Yorkshire Playhouse for giving this musical a try, but this needs a fully-fledged production to be truly magical. 'Fraid so. Is the car meant to turn sideways as the projection moves to a landscape shot of the countryside or does it deliberately look like its careering out of control, as it always looks face on to the audience? Maybe I'm doing it a disservice, but I like to see the good in most things. It just happens that today was more of a challenge for me than usual. The car is meant to turn, it did when I saw it in Leeds. Definitely didn't work tonight and Carrie's bike not coming on and breaking down made that scene all very odd. Hopefully just teething issues that they'll resolve. I have to say I thought Lee's vocals were very weak, not a patch on Jon Robyns. |
|
1,013 posts
|
Post by talkstageytome on May 4, 2016 23:41:00 GMT
'Fraid so. Is the car meant to turn sideways as the projection moves to a landscape shot of the countryside or does it deliberately look like its careering out of control, as it always looks face on to the audience? Maybe I'm doing it a disservice, but I like to see the good in most things. It just happens that today was more of a challenge for me than usual. The car is meant to turn, it did when I saw it in Leeds. Definitely didn't work tonight and Carrie's bike not coming on and breaking down made that scene all very odd. Hopefully just teething issues that they'll resolve. I have to say I thought Lee's vocals were very weak, not a patch on Jon Robyns. I loved Jon Robyns in the show. Would've been more inclined to book again if he were touring with it (although I much prefer Legally Blonde as a show in general so kind of glad he didn't). As I've said before, I would've thought that the name Chitty Chitty Bang Bang would've been enough to draw audiences in, and now that Carrie Hope Fletcher has joined the cast it's not like they're short on talent in their leads. One of the most needlessly 'stunt cast' tours, with a load of strange 'names' interchangeably appearing in the strange roles of The Baron and Baroness, as well as caractacus himself (don't understand the draw of Jason Manford. Maybe he's just not my cup of tea?). The show was well received with family audiences in Leeds without a single 'celebrity' in the cast. Just good performers. |
|
116 posts
|
Post by tcodd1 on May 6, 2016 16:10:32 GMT
Seeing the show tonight in MK. Looking forward to it! Haven't seen the show since the original London production when I was younger, but will post feedback afterwards...got high expectations!
|
|
|
|
Post by Deleted on May 6, 2016 16:53:11 GMT
It will never be a patch on the Palladium production which was, in every aspect, perfect.
|
|
116 posts
|
Post by tcodd1 on May 6, 2016 21:23:20 GMT
Just got back and it was a good way to spend an evening. Feel-good, happy show with a few laughs from Michelle Collins and Shaun Williamson who were great together, and the spies who were hilarious!
Lee Mead was a bit of a let -down to be honest. Weak vocals and slightly stumbly dancing...but I suppose it is only the beginning of his run. Great relationship with the kids, though!
Carrie Hope Fletcher was a lovely Truly. Beautiful vocals and well-acted, although could have maybe put a bit more oomph into some of her lines as some fell a bit flat.
Other notable mentions are Andy Hockley as Grandpa and the two children (we had Henry and Lucy - adorable!)
The car was wobbly when on the ground and the inflatable didn't really work (in fact, it was a bit flat!) but the flying was good. Straight up and down but relatively well hidden...tilted towards Carrie's side on both flights which looked a bit odd!
Generally, though I thought it was good. Good sets and use of projection, choreography, orchestra etc. but not a patch on the Palladium production which still stays with me...
|
|
|
|
Post by Deleted on May 6, 2016 21:33:56 GMT
I really am looking forward to seeing is and am glad u have got Jason Manford as I know him better than Lee Mead. However I'm quite ad u won't have Michelle Collins as I really like her but I'm sure Claire Sweeney will be great. tcodd1 interesting to hear your thoughts, how does the palladium version differ. I guess they can literally have a flying car but as this is a touring show they need the projections. |
|
1,061 posts
Member is Online
|
Post by David J on May 6, 2016 22:48:58 GMT
There's a lot of videos of the London, Broadway and Australian productions on youtube
I know comparing them to this is like comparing apples to oranges. But really...
I mean yes the original car was controlled by a lift that was built in beneath the Palladium stage from which the car is kept. All the tours including this have some sort of arm lift at the back. But apart from this, they all were sturdy enough to stop the car wobbling all over the place, breaking the illusion
I don't have objections to regional theatres taking on large scale musicals. Quite the opposite, and I have been amazed by the imagination production teams use to overcome their limitations. But for a musical like this, a bit more investment clearly goes a long way.
By the way, the second video shows the original Grand Prix/'Never was a car' song, which admittedly doesn't get the actual story moving. Just as the beginning of the film is just watching a lot of cars going round a race track. The first tour got it right. Introduce the characters, tell a short version of the Grand Prix with some of the verses from the song sprinkled in. Boom, the show is under away.
As I said before this version takes about 10-15 minutes before it even moves away from the junkyard.
|
|
422 posts
|
Post by carmella1 on May 6, 2016 22:50:01 GMT
I find it so bizzare to say Lee has weak vocals in this. He has a very powerful lovely voice. I have seen him many times and look forward to seeing Chitty. I know he has been having mic problems though. All the press articles have been great reviews.
|
|
|
|
Post by Deleted on May 6, 2016 22:54:36 GMT
One thing you can say about the audience in those videos, they went mental for this show! Wow, what an audience response! And it does look truly magical at the Palladium, that finale looks stunning.  |
|
1,061 posts
Member is Online
|
Post by David J on May 6, 2016 23:09:10 GMT
Little Carrie Hope Fletcher is also in those videos
|
|
|
|
Post by Deleted on May 7, 2016 0:59:34 GMT
I don't have objections to regional theatres taking on large scale musicals. Quite the opposite, and I have been amazed by the imagination production teams use to overcome their limitations. But for a musical like this, a bit more investment clearly goes a long way. I totally agree. I always thought a regional/subsidised production of Chitty would be great to see, and it is great that theatres like the West Yorkshire Playhouse are prepared to take the risk, but the scale and investment really is needed if it has any chance of living up to the original production. After all, the Palladium car cost £750,000 - the most expensive stage prop in history! I found a few song audios from Lee and Carrie's opening night on Wednesday...It annoys me how they're using the film arrangements for Toot Sweets, and Hushabye Mountain (and putting in Caractacus' puppet dance break in Doll on a Music Box)! They were all just perfect the way they were in the original production.
{Spoiler - click to view}
Speaking of Toot Sweets, does this production have the dogs run on at the end? And who is singing Hushabye Mountain with Caractacus in this version? Truly?
|
|
|
|
Post by Deleted on May 7, 2016 4:29:45 GMT
Wow, I am really impressed by Carrie's voice in those recordings, she sounds so mature compared to Les Mis... considering how young she is, to sound like this, is really impressive!
|
|
19,793 posts
|
Post by BurlyBeaR on May 7, 2016 7:12:15 GMT
It will never be a patch on the Palladium production which was, in every aspect, perfect. The vast majority of people seeing this will not have seen the London production and could care less about what acrobatics the car does or doesn't perform, or anything else that happened at the Palladium. |
|
1,061 posts
Member is Online
|
Post by David J on May 7, 2016 8:26:53 GMT
I don't have objections to regional theatres taking on large scale musicals. Quite the opposite, and I have been amazed by the imagination production teams use to overcome their limitations. But for a musical like this, a bit more investment clearly goes a long way. I totally agree. I always thought a regional/subsidised production of Chitty would be great to see, and it is great that theatres like the West Yorkshire Playhouse are prepared to take the risk, but the scale and investment really is needed if it has any chance of living up to the original production. After all, the Palladium car cost £750,000 - the most expensive stage prop in history!
{Spoiler - click to view}
Speaking of Toot Sweets, does this production have the dogs run on at the end? And who is singing Hushabye Mountain with Caractacus in this version? Truly? Michael Rose was one of the original producers who could invest in this musical before he found himself in everybody's bad books. I suppose nowadays somebody like Cameron Mackintosh can only put on a production like the original. {Spoiler - click to view}
There's no real dogs. You know those toys where you have a pole that you hold on one end, and on the other there is a wooden animal with a wheel underneath it to trundle along the ground, with legs attached to the sides going round and round. Thats what they use. A shame, since the appearance of real dogs always got a huge reaction. I remember the time the first tour came to the Mayflower, it was in the news that the production team had lost one of the dogs, but found it had been sleeping on one the seats of the car all night. |
|
|
|
Post by Deleted on May 7, 2016 8:45:15 GMT
The vast majority of people seeing this will not have seen the London production and could care less about what acrobatics the car does or doesn't perform, or anything else that happened at the Palladium. Exactly! This is a Music & Lyrics production touring large-scale musical theatre very widely, throughout the UK. It's not intended to trump the special effects element of an earlier production at the London Palladium with its history of opulent popular spectacle. The company isn't called Music, Lyrics & Glitzy Spectacle, my dears. |
|
18 posts
|
Post by missmelon on May 10, 2016 13:50:48 GMT
Touring productions are never going to be on the same scale as ones that are based permanently in the West End because they are moving around so much. When you perform in one theatre day in, day out, props and special effects can be so much more elaborate as you know exactly what you can and can't do in the venue, and you also don't have the constant get-in and get-outs to contend with. I'm off to see Chitty on Saturday in Milton Keynes, and I can't wait! I did actually see the show in the Palladium, however I was only about 7/8 so have very little memory of the show other than enjoying it! (as a side note, does anyone know where stage door is at MK theatre? Planning to arrive a bit early to try and suss it out but if anyone could give me a rough guide that would be much appreciated ) |
|
|
|
Post by Deleted on May 10, 2016 14:22:24 GMT
(as a side note, does anyone know where stage door is at MK theatre? Planning to arrive a bit early to try and suss it out but if anyone could give me a rough guide that would be much appreciated ) IIRC, if you're standing outside facing the main entrance it's round to the left. |
|
18 posts
|
Post by missmelon on May 10, 2016 14:44:27 GMT
(as a side note, does anyone know where stage door is at MK theatre? Planning to arrive a bit early to try and suss it out but if anyone could give me a rough guide that would be much appreciated ) IIRC, if you're standing outside facing the main entrance it's round to the left. Brilliant, thank you |
|
1,351 posts
|
Post by CG on the loose on May 15, 2016 12:36:26 GMT
Saw this last night with some trepidation, having loved the film since I first saw it in the cinema age 6, but slightly to my surprise given the negative comments up thread, I was utterly delighted by it. I also saw and loved the Palladium production, but certainly wasn't expecting a regional touring production to try to match that for scale and effects... perhaps that's why I wasn't disappointed by this one.
It was a slightly unusual show due to a last-minute indisposition... and before anyone starts calling "technical issues", it was young Daisy Riddett playing Jemima who was taken ill. There was a short stop to the show a few minutes in (necessitated, I understand, by the need to re-balance the car for the changed weights of its occupants) before it was announced that the role of Jemima would be played by Alex Bird - who I last recall seeing in the Wicked ensemble a few years back! She did an absolutely cracking job, as did the cast around her, especially young Aaron Gelkoff as Jeremy, for whom it must have been more than a little strange.
It left the ensemble a female down, as swing Kathryn Barnes was already on covering for Associate Choreographer Joanna Goodwin who had traveled ahead to Nottingham to rehearse the local sewer kids for the next date on the tour, but as ever when a company is filling the gaps, you really wouldn't have known from the audience perspective that anything was other than completely normal.
I was especially intrigued to see how I'd rate Lee Mead - I've enjoyed his previous stage roles and have also seen him in concert where his vocals were anything but "weak" as had been suggested up thread. Happily I thought his Caractacus was spot on - he has a wonderful connection with the children, totally natural and therefore completely believable, and his voice is as good as I remember (I wonder if the broken mic issues mentioned earlier were the reason for others' less positive experience?).
Carrie's voice is beautiful but I wasn't entirely convinced by her Truly. Incidentally, I didn't notice Hushabye Mountain being unduly sped up (maybe they've slowed it again), but did think Lovely Lonely Man was rather rushed.
I loved Sam Harrision's and Scott Paige's spies - their timing is immaculate, and Michelle Collins and Shaun Williamson made their Baron/Baroness parts as funny as I'm ever likely to find them (never did much like their bit of the story!). Andy Hockley is fabulous with his apparently Uncle Albert-inspired Caractacus Snr and Matt Gillett equally so as the Child Catcher (nice to see a cover emerge from the shadows to take the role in his own right).
Round all that off with an incredibly hard-wording and talented ensemble, a wonderful bunch of sewer kids and an excellent orchestra led by Andrew Hilton and you have a hugely entertaining, feel-good show which left me beaming from ear to ear.
|
|
