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Post by Deleted on Apr 9, 2018 13:44:43 GMT
I'm sorry but I laughed like a drain when I heard they'd forgotten Peter Hall in the obits section - how excruciating!
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Post by Rory on Apr 9, 2018 13:55:44 GMT
This may be a daft question but why is Tracie Bennett's performance being criticised? Just curious. Should’ve gone to Specsavers. (They so hearing aids too y’know.) Yeah. Cheers for this. No need. |
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Post by partytentdown on Apr 9, 2018 14:37:02 GMT
I bet the poor person responsible for keeping that spreadsheet updated through the year has had a rough morning at work... |
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Post by showoff on Apr 9, 2018 15:15:36 GMT
I was surprised at how poor the diction was during the Hamilton extract. I guess it could have been the sound - but that wasn't the impression I got. Just was lacking the same punch I have seen different ensembles give at US events. I really don't have FOMO with Hamilton. I love the score but am just not buying into the hype for the London production. No, that's pretty much what you get from this cast when you see it at the theatre. Like you I've listened to different casts and I do find this one lacking. And I know he won last night, but I'm still not convinced of Giles signing this, not just because of his diction, but his phrasing seems off, especially in the faster paced numbers. |
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Post by firefingers on Apr 9, 2018 15:16:53 GMT
All I have to say is Bat out of Hell sounded infinitely better than Hamilton. They achieved some incredible results with the Sound Design at BOOH, so it's a shame the great big popularity contest swept up in this area. I massively disagree. Bat Out Of Hell sounded incredibly harsh on the ear, through a PA that had been cut to ribbons with EQ. I don't often like Gareth Owen designs (Young Frankenstein is pretty damn good but 42nd Street is a compressed mess and he was totally the wrong designer for the gig) and BOOH was certainly not his best work. It could be where I was sitting of course, but two thirds back in the middle of the stalls shouldn't be a difficult spot to produce decent sound (though judging from Gareth's facial expression when I told him where I would be sitting, I think he knew it was a bit of a problem area). Now my seat for Hamilton should have been far more sonically problematic, right off to the side of the stalls and buried under the overhang of the dress. Due to the architecture it also meant I was pretty far from any boxes, so I was expecting a challenging evening. But what I received there was excellent clarity and a show where the eb and flow of the score really translated, every slight push and pull having the emotional impact required. In my opinion it sets a new standard for my own work and for musicals in this country as a whole. There have been many cases of technical awards just thrown at whatever is the hottest show in town over the years (like when Matilda won best sound design, whixg really was rather crap until Leigh took over as No. 1 and sorted it all out) but this really wasn't one of those times. Yours, A West End Sound No. 1. |
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Post by Deleted on Apr 9, 2018 15:30:40 GMT
I was surprised at how poor the diction was during the Hamilton extract. I guess it could have been the sound - but that wasn't the impression I got. Just was lacking the same punch I have seen different ensembles give at US events. I really don't have FOMO with Hamilton. I love the score but am just not buying into the hype for the London production. I thought the diction was crystal clear last night - there are a couple of numbers in the show where I do struggle to understand the lyrics, but that isn't one of them and Giles isn't involved in the ones that I do struggle with. As I said above, it was Jamie I struggled to understand last night. Maybe whether you've seen the show or not really does make a difference. |
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Post by Dan213 on Apr 9, 2018 15:44:33 GMT
I was surprised at how poor the diction was during the Hamilton extract. I guess it could have been the sound - but that wasn't the impression I got. Just was lacking the same punch I have seen different ensembles give at US events. I really don't have FOMO with Hamilton. I love the score but am just not buying into the hype for the London production. I thought the diction was crystal clear last night - there are a couple of numbers in the show where I do struggle to understand the lyrics, but that isn't one of them and Giles isn't involved in the ones that I do struggle with. As I said above, it was Jamie I struggled to understand last night. Maybe whether you've seen the show or not really does make a difference. This was from the broadcast: The diction is really clear here. On the other hand, there were some small areas of the Hamilton extract that were impossible to understand. The start of line " The ship is the harbour now" was one that sticks out for me, and one that I also found difficult to understand when I saw the show |
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Post by Deleted on Apr 9, 2018 15:48:51 GMT
Tracie's performance has found its way onto YouTube. I know she sometimes divides people but I thought it was a fabulous performance from her last night. It reminded me of exactly how and why she stole the show in Follies and continues to be, for me at least, the lasting memory of that otherwise, in my opinion, partially forgettable show.
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Post by Dan213 on Apr 9, 2018 15:51:44 GMT
I really hope the Society of London Theatre upload all of the performances from the night and not just Hamilton. Would be nice to see them all in a decent quality as opposed to the low res ITV Player versions.
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Post by d'James on Apr 9, 2018 16:03:32 GMT
Tracie's performance has found its way onto YouTube. I know she sometimes divides people but I thought it was a fabulous performance from her last night. It reminded me of exactly how and why she stole the show in Follies and continues to be, for me at least, the lasting memory of that otherwise, in my opinion, partially forgettable show. I mean she clearly gave it her all, and she seems like a lovely person but I never want to hear that again. It just wasn’t nice to listen to. |
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Post by Deleted on Apr 9, 2018 16:25:40 GMT
To wade in on musicals, I adore Jamie. I'd probably see it 10 times over Hamilton (not that Hamilton isn't great, just personal preference etc) BUT I concede that as an overall 'Best Musical' Hammy has the edge, technically and in terms of accomplishment.
But on the other hand I just can't reconcile Giles' performance over John's. To me what McCrea does is streets ahead. This more than the play actor noms (which were a very close run thing I think) grates on me. Hamilton and it's performers are more than worthy of accolade but this one felt like the one that was 'wrong' to me.
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Post by Deleted on Apr 9, 2018 16:41:29 GMT
Peter Hall - probably the biggest contributor to British Theatre out of any of the people who had passed was missed out of the one Award Show which should have included him above any other!
I know Ken Dodd kept many theatres open literally for hours during his legendary shows but how can Peter be missed out especially when RSC co-founder John Barton was included.
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Post by Deleted on Apr 9, 2018 17:08:54 GMT
All I have to say is Bat out of Hell sounded infinitely better than Hamilton. They achieved some incredible results with the Sound Design at BOOH, so it's a shame the great big popularity contest swept up in this area. I massively disagree. Bat Out Of Hell sounded incredibly harsh on the ear, through a PA that had been cut to ribbons with EQ. I don't often like Gareth Owen designs (Young Frankenstein is pretty damn good but 42nd Street is a compressed mess and he was totally the wrong designer for the gig) and BOOH was certainly not his best work. It could be where I was sitting of course, but two thirds back in the middle of the stalls shouldn't be a difficult spot to produce decent sound (though judging from Gareth's facial expression when I told him where I would be sitting, I think he knew it was a bit of a problem area). Now my seat for Hamilton should have been far more sonically problematic, right off to the side of the stalls and buried under the overhang of the dress. Due to the architecture it also meant I was pretty far from any boxes, so I was expecting a challenging evening. But what I received there was excellent clarity and a show where the eb and flow of the score really translated, every slight push and pull having the emotional impact required. In my opinion it sets a new standard for my own work and for musicals in this country as a whole. There have been many cases of technical awards just thrown at whatever is the hottest show in town over the years (like when Matilda won best sound design, whixg really was rather crap until Leigh took over as No. 1 and sorted it all out) but this really wasn't one of those times. Yours, A West End Sound No. 1. We've disagreed on points before and I'm sure we will continue to. Where I was sat for Hamilton (Circle Row B) the sound was underwhelming, at best. Front stalls for Bat out of Hell was immersive and impressive. Interesting that you suggest the sound on Matilda has been sorted out, is this a recent development? When I last there around 12 months ago, it was plagued with issues to the extent of feedback and from what I've heard this hasnt been resolved for the tour. Thanks for justifying your job role in an attempt to undermine my opinion though! |
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Post by alece10 on Apr 9, 2018 17:45:14 GMT
Just caught up with The Oliviers on TV.
I thought the Hamilton opening number did not come over anywhere near as powerful as it does on the stage which I guess is understandable. Did they sing it a tad slower then in the theatre?
Enjoyed the 42nd Street routine (why didn't it win best costumes!)
Thought Lesley Joseph died a death and her jokes fell flat.
Tracie Bennett totally nailed it performance wise and that was the highlight for me.
The Joseph finale was nice but has Joe McElderry had something done to his face? He looks very different or is he just getting older.
But my main gripe was Joe Wannamaker not putting "The" in front of any of the theatre names. It was the same last year. Is that how its done now we don't call any theatre "The"? or were they just trying to trim a few seconds off the running time?
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Post by Deleted on Apr 9, 2018 18:05:50 GMT
The sound design for Hamilton is an incredibly impressive achievement. I was in the Circle (Row D? Can't remember exactly) and it was crystal clear and well balanced. Network's sound was also outstanding so I didn't mind if it went to either of them. I really dislike that compressed sound that firefingers mentioned, I suppose the brickwalling that people get from a lot of recorded music has a lot to answer for, not to mention noisy audiences.
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Post by rearstallsloiterer on Apr 9, 2018 18:32:10 GMT
I massively disagree. Bat Out Of Hell sounded incredibly harsh on the ear, through a PA that had been cut to ribbons with EQ. I don't often like Gareth Owen designs (Young Frankenstein is pretty damn good but 42nd Street is a compressed mess and he was totally the wrong designer for the gig) and BOOH was certainly not his best work. It could be where I was sitting of course, but two thirds back in the middle of the stalls shouldn't be a difficult spot to produce decent sound (though judging from Gareth's facial expression when I told him where I would be sitting, I think he knew it was a bit of a problem area). Now my seat for Hamilton should have been far more sonically problematic, right off to the side of the stalls and buried under the overhang of the dress. Due to the architecture it also meant I was pretty far from any boxes, so I was expecting a challenging evening. But what I received there was excellent clarity and a show where the eb and flow of the score really translated, every slight push and pull having the emotional impact required. In my opinion it sets a new standard for my own work and for musicals in this country as a whole. There have been many cases of technical awards just thrown at whatever is the hottest show in town over the years (like when Matilda won best sound design, whixg really was rather crap until Leigh took over as No. 1 and sorted it all out) but this really wasn't one of those times. Yours, A West End Sound No. 1. We've disagreed on points before and I'm sure we will continue to. Where I was sat for Hamilton (Circle Row B) the sound was underwhelming, at best. Front stalls for Bat out of Hell was immersive and impressive. Interesting that you suggest the sound on Matilda has been sorted out, is this a recent development? When I last there around 12 months ago, it was plagued with issues to the extent of feedback and from what I've heard this hasnt been resolved for the tour. Thanks for justifying your job role in an attempt to undermine my opinion though! |
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Post by stagebyte on Apr 9, 2018 18:36:59 GMT
Should’ve gone to Specsavers. (They so hearing aids too y’know.) Yeah. Cheers for this. No need. Maybe it didn’t transfer over so well on the small screen? From where I was sitting she smashed it and it was genuinely well received by the audience. |
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Post by stagebyte on Apr 9, 2018 18:40:28 GMT
I thought the diction was crystal clear last night - there are a couple of numbers in the show where I do struggle to understand the lyrics, but that isn't one of them and Giles isn't involved in the ones that I do struggle with. As I said above, it was Jamie I struggled to understand last night. Maybe whether you've seen the show or not really does make a difference. This was from the broadcast: The diction is really clear here. On the other hand, there were some small areas of the Hamilton extract that were impossible to understand. The start of line " The ship is the harbour now" was one that sticks out for me, and one that I also found difficult to understand when I saw the show Sound was definitely off on Jamie at the RAH live - could not hear one word over the music where I was sitting. Good job I’d seen the show before |
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Post by Dawnstar on Apr 9, 2018 18:58:28 GMT
I just tried to catch up on the TV coverage. Sat through Hamilton (confirmed I won't be going to see it), Catherine Tate being not that amusing & a trailer for a bunch of musicals then it started on the awards & the first one was Best Family & Entertainment. So I can't even see Mischief Theatre failing to win Best New Comedy. Gave up.
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Post by Deleted on Apr 9, 2018 19:17:56 GMT
Just caught up with The Oliviers on TV. I thought the Hamilton opening number did not come over anywhere near as powerful as it does on the stage which I guess is understandable. Did they sing it a tad slower then in the theatre? I thought that as well - it seemed a bit slow and more pronounced than usual, which made it even easier to understand, though it's perfectly intelligible at normal speed. On the other hand, the start of the 42nd Street number seemed sped up a bit compared to normal! |
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Post by steve10086 on Apr 9, 2018 20:08:51 GMT
The performance from ‘Jamie’ has saved me some money. Had been tempted to see it, but not now.
I absolutely adore Linzi Hateley.
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Post by Deleted on Apr 9, 2018 20:15:40 GMT
The performance from ‘Jamie’ has saved me some money. Had been tempted to see it, but not now. I absolutely adore Linzi Hateley. Linzi Hateley has always been my favourite performer and i wish she got to be in the West End more. It was fantastic to see her and Jason back together and enjoying being on stage together. You really should give Jamie a chance, it's a great show. Actually. Linzi could be great as Jamie's mum!!! |
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Post by peggs on Apr 9, 2018 20:29:32 GMT
Well thought that was actually not bad and thought Catherine Tate did rather well holding that all together. There is something so very pleasing about watching people win awards who clearly didn't expect to win and are very, very happy.
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Post by ptwest on Apr 9, 2018 20:56:11 GMT
Linzi Hateley has always been my favourite performer and i wish she got to be in the West End more. It was fantastic to see her and Jason back together and enjoying being on stage together. You really should give Jamie a chance, it's a great show. Actually. Linzi could be great as Jamie's mum!!!
Completely agree with all of this!
I didn't think the performance at the Oliviers did Jamie any favours but it really is a fabulous show and worth a look.
Wish I'd made more effort to see Girl From The North Country based on the performance last night.
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Post by Phantom of London on Apr 9, 2018 21:04:53 GMT
King George is a blink and you'll miss it affair yet Clare Halse grafts on stage that entire show and nothing. Yes, I am still bitter about this! That is what the featured role is for, about rewarding small but outstanding performances, where the role might only have 1 or 2 songs. |
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