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Post by Jon on Mar 13, 2017 8:38:59 GMT
Once you start treating a role like a job then its probably it time to leave.
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Post by ali973 on Mar 13, 2017 9:06:34 GMT
I think it all depends on the company managers and producers. I semi-recently saw both Phantom and Les Miz in London, and thought that they were both very tight, especially Les Miz.
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Post by Jon on Mar 13, 2017 9:13:01 GMT
I think it all depends on the company managers and producers. I semi-recently saw both Phantom and Les Miz in London, and thought that they were both very tight, especially Les Miz. I suspect Les Mis and Phantom are kept on a short leash after the 1996 incident. |
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Post by ali973 on Mar 13, 2017 11:17:49 GMT
You realize that was 20 years ago? I'm sure the individuals who actually manage these shows have changed. Not to mention the incident happened in New York not London.
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Post by adrianics on Mar 13, 2017 11:43:19 GMT
Actors being bored is one of my bugbears. It's always so pathetically obvious and is insulting not just to the high-paying audience but also to the literally thousands of people desperate to make it who would give anything to be in that person's position.
The big examples that come to mind are Fred Applegate in The Producers (I have never seen a professional actor make such little effort, not even summoning the energy to pretend he was happy to be doing the show) and the entire cast of Spamalot when I saw it in 2008, with Alan Dale as King Arthur.
I think it's inevitable that after a while doing the same thing over and over again becomes routine and the initial rushes of adrenaline probably dissipate with time, particularly if it's a tightly choreographed musical with no room for improvisation or change, but if it's so horrible you can't use your training and experience to hide your boredom please do the honourable thing and resign so someone who wants to be there can take over.
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Post by 49thand8th on Mar 13, 2017 12:50:13 GMT
You realize that was 20 years ago? I'm sure the individuals who actually manage these shows have changed. Not to mention the incident happened in New York not London. They also got rid of Richard Jay Alexander, the then-resident director. But it's not like these kinds of things don't have an impact on a corporate entity as a whole. |
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Post by thebearofwestend on Mar 15, 2017 3:18:44 GMT
I think it all depends on the company managers and producers. I semi-recently saw both Phantom and Les Miz in London, and thought that they were both very tight, especially Les Miz. I suspect Les Mis and Phantom are kept on a short leash after the 1996 incident. I am an idiot what happened? |
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Post by 49thand8th on Mar 15, 2017 3:25:35 GMT
I suspect Les Mis and Phantom are kept on a short leash after the 1996 incident. I am an idiot what happened? There are only three pages in this thread. You can scroll back to find the link, right? |
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Post by thebearofwestend on Mar 15, 2017 3:55:13 GMT
Yes I did but still do not know why they were dismissed
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Post by Mr Snow on Mar 15, 2017 10:01:26 GMT
I thought about this while Groundhog Day played last year. It needs high energy particularly from the lead, yet he has to keep repeating the same words and actions many, many times during each performance. If he gets at all lazy he’ll make mistakes as to which variant he’s going to move to. Quite a challenging role.
The irony of course being that’s one of the things the show is all about. Improve by small margins every day and life can get better.
This has also caused me to reflect that the two most annoying performances I’ve ever paid to see were both Jukebox musicals to awards the end of their runs. The chorus in a Grease Matinee couldn’t all get in time doing the hand jive. And for the Million Dollar quartet it was half way through the first act before I realised the actor who couldn’t stop lurching when singing, was supposed to be playing Elvis and his famous hip movement. Million Dollar? I’ve rewarded much better performances in Tube stations at the appropriate scale. Give me amateurs over that.
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