|
Post by Deleted on Feb 28, 2018 15:17:50 GMT
Emma Chisset, Gloria Soame, Gest Vonner, Jess Tefter, Miss Gem, Terror souse, Gloria Sarah Titch For anybody who needs help, here are the translations: Emma Chisset: "How much is it?" This is apparently the example that started off the whole Strine thing. Gloria Soame: "glorious home" This goes with 'She keeps Rome looken lovely' Gest Vonner: "guest of honour" Jess Tefter: "just have to" Miss Gem: "Mr Chairman" Perhaps 'Miss German' might be closer. Terror Souse: "terrace house" Gloria Sarah Titch: "glorious heritage" Sorry. No prizes, but a broadening of International understanding, although these days genuine Strine is dying out as the population of Oz takes on a distinctly South Eastern Asian character. I seem to have taken this thread a long way from 'Kiss Me, Kate'. I hope members have enjoyed the diversion! Oh tony, we already know what you look like and now we can practically hear your dulcet tones! It's a pity though that whilst you have lived here longer than the lifespan of any other poster you still haven't mastered the art of Received Pronunciation! Watch a couple of episodes of The Crown for the general idea... (The Queen is Very Good at it.) Anyway your 'translations' remind me of the time my niece came home from school telling us that she was going to be doing loads of "Simon Cowell Fungus" for the end of term concert. We hadn't a clue what she was talking about but she insisted "really old people" (like her friend's dad) had loads of his records. When we asked what songs they would be singing the only one she could remember was Bridge Over Troubled Water.
|
|
669 posts
|
Post by westendcub on Mar 3, 2018 14:38:08 GMT
ENO are rather efficient, my ticket for June came in the post today!!
|
|
1,912 posts
|
Post by sf on Mar 3, 2018 17:37:46 GMT
I just looked at prices for the Coliseum. How come it's more expensive than Chess? Is it because it's fully staged? Some seats are significantly cheaper than they are for Chess. For Kiss Me, Kate I paid £20 for rear dress circle, and the same seat is £75 for Chess.
|
|
310 posts
|
Post by showoff on Mar 4, 2018 15:57:50 GMT
There's still an awful lot of tickets, especially considering the very limited run.
Going to try my luck with some of the cheaper seats in the dress, there's an awful lot I want to see this year, already a lot booked, so I'll take a chance with the lower priced tickets for this one.
|
|
1,089 posts
|
Post by tonyloco on Mar 4, 2018 22:59:36 GMT
Going to try my luck with some of the cheaper seats in the dress, there's an awful lot I want to see this year, already a lot booked, so I'll take a chance with the lower priced tickets for this one. I have never actually sat there myself yet, but from what the Theatremonkey says in his book, the seats at the ends of the rows in the Dress Circle are cheap (£20 for 'Kiss Me, Kate') because the view is partly obstructed by the boxes alongside the proscenium arch and the ones at the back are obstructed by the overhang from the Upper Circle above that cuts off the top of the stage. I have taken a chance and booked a £20 seat near the end of F row that is £75 for 'Chess'!
|
|
310 posts
|
Post by showoff on Mar 5, 2018 10:44:31 GMT
Going to try my luck with some of the cheaper seats in the dress, there's an awful lot I want to see this year, already a lot booked, so I'll take a chance with the lower priced tickets for this one. I have never actually sat there myself yet, but from what the Theatremonkey says in his book, the seats at the ends of the rows in the Dress Circle are cheap (£20 for 'Kiss Me, Kate') because the view is partly obstructed by the boxes alongside the proscenium arch and the ones at the back are obstructed by the overhang from the Upper Circle above that cuts off the top of the stage. I have taken a chance and booked a £20 seat near the end of F row that is £75 for 'Chess'! I've given the row H seats a go, hopefully they'll be all right, as you said, they're £75 for Chess, so it's quite a good price.
|
|
|
Post by QueerTheatre on Mar 5, 2018 14:25:29 GMT
I just looked at prices for the Coliseum. How come it's more expensive than Chess? Is it because it's fully staged? It's not an ENO production so they don't set the prices - it'll be that high because Opera North wanted it to be.
|
|
1,912 posts
|
Post by sf on Mar 5, 2018 21:25:46 GMT
For Kiss Me, Kate I paid £20 for rear dress circle, and the same seat is £75 for Chess. Yes, because Alexandra Burke is not in "Kiss Me Kate." Double bonus, then.
|
|
4,608 posts
|
Post by Someone in a tree on May 26, 2018 17:35:27 GMT
Last time I saw this was the front row stalls of Nottingham theatre royal. Today I was the sides of the dress circle in a very hot (too darn hot) Leeds Grand. Despite a hot and uncomfortable seat it is still Wunderbar
Opera North know how to stage a musical. ENO please take note. Despite a fantastically large cast this production does look small and intimate. I wonder how it will fare in the Coliseum.
On the design the colours used are so bright and vivid (I loved the backdrops) and then in other scenes quite sepia. Looks a treat in my book
|
|
3,940 posts
|
Post by Dawnstar on May 26, 2018 19:57:13 GMT
I was there this afternoon too. The temperature wasn't too bad in the front row of the stalls.
This was my third time seeing the production, having seen both the original run & the WNO run. The cast leads who have been in all 3 runs, Quirijn de Lang, Joseph Shovelton & John Savournin, are all still doing a great job. I really love Quirijn de Lang's Fred, possibly the best performance in the cast (admittedly possibly it's the best role too). I'm decidedly biased when it comes to Alan Burkitt but I thought he was terrific as Bill again & I'm very pleased that ON have kept the extra solo choreography that was added for him when he joined the cast for the WNO run. Zoe Rainey, new to this cast, was very good as Lois, and seemed to be playing her less dumb-blonde than previously, which I liked. I've seen her in several other shows but this is the first time I've seen her in a dance role. The other lead new for this run, Stephanie Corley as Lili, I thought did a good job, though I didn't find her quite as moving as Jeni Bern in the previous runs.
Having said I'd see it in Leeds rather than at the Coliseum I think I may now have to go & see it at the Coliseum too! Especially as I hadn't realised that this afternoon's performance was signed & I do find it terribly distracting.
|
|
1,912 posts
|
Post by sf on May 26, 2018 20:14:34 GMT
I missed it at the Lowry a couple of years ago.
Leeds is much closer to where I live than London... so of course I'm seeing it in London (it's a dates/times thing, I'll be in London anyway while it's running there). Even if the Coliseum turns out not to be the best venue for it, it's worth it to hear that score performed by great singers and a very large orchestra.
|
|
18,917 posts
|
Post by BurlyBeaR on Jun 7, 2018 13:45:18 GMT
£95 SEATS REDUCED TO £45 £79 REDUCED TO £39.50 TO BOOK USE PROMO CODE KMKWOS BUT HURRY OFFER ENDS SATURDAY 10 JUNE
|
|
3,940 posts
|
Post by Dawnstar on Jun 7, 2018 18:15:15 GMT
Thank you very much for that BurlyBeaR. I've just booked a front row seat that is now the same price as I paid in Leeds rather than double!
|
|
1,936 posts
|
Post by wickedgrin on Jun 8, 2018 0:33:58 GMT
Thank you very much for that BurlyBeaR . I've just booked a front row seat that is now the same price as I paid in Leeds rather than double! Yes thanks for this BurlyBearR I have booked the third row of the Dress for half price. Also Today Tix have tickets on the back row of the Dress Circle for 28.00 (34.00 off) and the back row of the Upper Circle for 18.00 (10.00 off). Lots of availability. Today Tix may even do Rush Tickets for this (like Chess) on the day!
|
|
1,089 posts
|
Post by tonyloco on Jun 21, 2018 0:26:46 GMT
I was hoping to be knocked out by this but I'm afraid it was only modified rapture.
The very good news is that the show is performed in very much the original format that I remember from seeing the Australian production in 1952 (several times) which was a straight reproduction of the Broadway original, and the best news is that the score is given totally complete with underscoring, music for scene changes and all the encores for "Always True to You" and "Brush Up Your Shakespeare" in the reconstructed edition by David Charles Abell and Seann Alderkin of the original Robert Russell Bennett and Don Walker orchestrations. Musically I thought it was superb, with a glorious orchestra, some top class singing from the principals and a robust contribution from the Chorus of Opera North.
So what didn't I like? The messy staging and big open set that failed to provide any satisfactory small spaces, particularly for the intimate scenes in the dressing rooms and those at the Stage Door. I also found some of the dialogue scenes were a bit underpowered, like the scenes with Harrison Howell but that might be due to my failing hearing. I had no problems with hearing the singing and I could hear and understand every word, although they are rather familiar to me!
To be honest, I thought the direction didn't always work particularly well, especially as the Coliseum is a big house to get dialogue across.
1. The interplay between the principals in the opening scene of the calls didn't seem all that clear and I barely noticed Lilli calling Fred a bastard. I really disliked the staging of "Another Opening, Another Show" which I thought was too complicated and crammed with far too much business. It's a good strong solo for Hattie and an opportunity for a big dance number for the ensemble. That's enough!
2. The next musical numbers were all well done until "I Hate Men" which didn't seem to have any dramatic justification. The original production made this more of a slapstick scene for Kate who sat at a large table laden with piles of pewter plates which she banged with a large pewter mug. Without any comic business for Kate I thought the number didn't make as much impact as I was expecting.
3. I thought the Shrew scenes went well enough and the Act I finale was good, but I failed to see the need to start Act II back in the middle of the Act I finale.
4. For me, "Too Darn Hot" was totally wrongly staged. It is supposed to be some of the Shrew company in the alley behind the theatre outside the stage door cooling off in the hot weather. Here, it seemed to be performed on stage on the set of "Shrew" (but I might have got that wrong) and the staging and choreography to me failed to reflect the particular jazz idiom in which Porter brilliantly set the song. Stefan Anelli as Paul taking the solo was excellent but I would not have put Hattie into the number as well.
5. The stage setting for "Where is the Life that Late I Led" included a staircase going up into the wings which was supposed to lead to Kate's bedroom but the door could not be seen. This gave Petruchio a problem making sense of his dialogue when he tries to go into the bedroom and says: "I'faith, the lady hath shot her bolt" or something like that. I wasn't totally happy with the young ladies materialising during the second verse but it was OK. For me, this is a magnificent solo for Petruchio and doesn't need to be 'illustrated' – if the singer is worth his salt he should be able to supply all the imagery needed with his singing.
6. From then on we had a succession of four fabulous musical numbers very well staged and performed to perfection. Zoe Rainey knew exactly how to sing "Always true to you in my fashion" to make the most of its double entendres, and the five minutes of "Bianca" was total theatrical heaven thanks to Alan Burkitt's inspired singing and dancing. We then had a beautiful reprise of "So in Love" by Quirijn de Lang and finally "Brush Up Your Shakespeare" by Joseph Shovelton and John Savournin. How clever was Cole Porter to provide this show-stopping number as a kind of afterthought before the denoument and finale of both "The Shrew" and "Kiss Me, Kate".
7. So my feeling at the end was that the cast gave us a great musical performance of "Kiss Me, Kate" which was somewhat let down by an unsatisfactory set and some rather messy staging. So five stars to the cast for their musical performance, four for their dramatic performance and two stars for the set and staging.
|
|
1,936 posts
|
Post by wickedgrin on Jun 21, 2018 8:18:09 GMT
We will miss each by one evening tonyloco as I am going tonight and will report back. Looking forward to it - I hope I enjoy it!
|
|
1,089 posts
|
Post by tonyloco on Jun 21, 2018 8:46:58 GMT
2. The next musical numbers were all well done until "I Hate Men" which didn't seem to have any dramatic justification. The original production made this more of a slapstick scene for Kate who sat at a large table laden with piles of pewter plates which she banged with a large pewter mug. Without any comic business for Kate I thought the number didn't make as much impact as I was expecting. 3. I thought the Shrew scenes went well enough and the Act I finale was good, but I failed to see the need to start Act II back in the middle of the Act I finale. PS I can’t lay my hands on my piano score to check whether it indicates Act II starting with a reprise of the end of the Act I finale*. I don’t remember this happening in the Australian production but I could be wrong and presumably the Abell reconstructed score includes this. Also, Kate does have some comic business with a male lute player in “I Hate Men” but I didn't think it was very effective. *Oops! I hope that doesn't count as a spoiler and if so, I apologise.
|
|
669 posts
|
Post by westendcub on Jun 21, 2018 11:51:01 GMT
I too attended last night!
I was a total newbie to this musical although I’ve heard ‘Too Darn Hot’ before.
I enjoyed it plenty but wasn’t quite as swept away as I thought I’d be.
However Act 2 is brilliant & that ‘Bianca’ tap dance was worth my £20!
|
|
888 posts
|
Post by lonlad on Jun 21, 2018 15:32:31 GMT
Very surprised by the tenor of the reviews though perhaps I shouldn't be given how many indifferent productions of musical classics here get a free pass from the critics. But as someone who saw the unsurpassable Michael Blakemore revival of this show on Broadway and then at the VP in London, this one is a tepid also-ran -- three of the four principals are miscast (Zoe Rainey is a wonderful performer but not remotely plausible as Bianca -- though she'd make a good Katherine, I would imagine) and the production doesn't sit well on the Coli' stage -- it's built for much smaller spaces so most of the set is fringed in darkness (and also underlit). The orchestra was good so there is that, and we have Kelli O'Hara coming to Bway in this next spring, and THAT should be sensational.
Audience response last night, by the way, pretty wan -- felt as if they were willing themselves to like it without actually caring one way or the other.
|
|
1,089 posts
|
Post by tonyloco on Jun 21, 2018 22:08:40 GMT
Very surprised by the tenor of the reviews though perhaps I shouldn't be given how many indifferent productions of musical classics here get a free pass from the critics. But as someone who saw the unsurpassable Michael Blakemore revival of this show on Broadway and then at the VP in London, this one is a tepid also-ran -- three of the four principals are miscast (Zoe Rainey is a wonderful performer but not remotely plausible as Bianca -- though she'd make a good Katherine, I would imagine) and the production doesn't sit well on the Coli' stage -- it's built for much smaller spaces so most of the set is fringed in darkness (and also underlit). The orchestra was good so there is that, and we have Kelli O'Hara coming to Bway in this next spring, and THAT should be sensational. Audience response last night, by the way, pretty wan -- felt as if they were willing themselves to like it without actually caring one way or the other. Very interesting response, lonlad. Without actually saying it, you may well be subscribing to the view that opera companies should not do Broadway musicals, which is something I actually agree with because either the regular opera singers are unsuitable to play the roles in the show (which I felt to some extent with the two main leads here), or they import performers from the musical theatre, which rather defeats the purpose of an opera company doing the show in the first place, not to mention shortcomings in the actual staging. But, sorry to say, I don't agree that the Michael Blakemore production was definitive because although the show was properly mounted with very talented musical theatre performers, everybody played their parts at breakneck speed as if they had a train to catch and I felt the show suffered as a result. My reaction at the time was that the director didn't actually trust the basic material and had to energise it in what seemed to me to be an unacceptable way, but if that approach worked for you then fine – you are not alone in being very happy with that particular production!
|
|
357 posts
|
Post by JJShaw on Jun 21, 2018 22:48:08 GMT
my only knowledge of the show was the new broadway cast recording and watching the proshot old vic production from 2001 on youtube (correct me if i am wrong on date/theatre) so i was looking forward to seeing a production in person.
While I thought the performances were fine there just seemed like a lack of drive and energy from the production, like it had been put on sleeper mode, could have been to do with direction, or as previously stated just being on a stage that was too big for their set, or the distinct lack of brass that i was accustomed to from the versions prior. I wasnt a fan of how Too Darn Hot was staged and was a little disappointed with Tom, Dick, Harry (one of my faves, again there was just a lack of brass instruments to give it that old school JAZZ vibe!)
Sadly it then felt quite long (and at 2hr 50, it is!) it was lovely to have all the encores, transition music and such, i wish I had enjoyed it more. Surprisingly so, so so many people were leaving at the beginning of the bows, just seemed rather rude at the Droves of elderly people leaving (i was at the matinee!), and they say the young generation is rude!
|
|
1,912 posts
|
Post by sf on Jun 22, 2018 0:11:29 GMT
Very surprised by the tenor of the reviews though perhaps I shouldn't be given how many indifferent productions of musical classics here get a free pass from the critics. But as someone who saw the unsurpassable Michael Blakemore revival of this show on Broadway and then at the VP in London, this one is a tepid also-ran -- three of the four principals are miscast (Zoe Rainey is a wonderful performer but not remotely plausible as Bianca -- though she'd make a good Katherine, I would imagine) and the production doesn't sit well on the Coli' stage -- it's built for much smaller spaces so most of the set is fringed in darkness (and also underlit). The orchestra was good so there is that, and we have Kelli O'Hara coming to Bway in this next spring, and THAT should be sensational. Audience response last night, by the way, pretty wan -- felt as if they were willing themselves to like it without actually caring one way or the other. Very interesting response, lonlad. Without actually saying it, you may well be subscribing to the view that opera companies should not do Broadway musicals, which is something I actually agree with because either the regular opera singers are unsuitable to play the roles in the show (which I felt to some extent with the two main leads here), or they import performers from the musical theatre, which rather defeats the purpose of an opera company doing the show in the first place, not to mention shortcomings in the actual staging. But, sorry to say, I don't agree that the Michael Blakemore production was definitive because although the show was properly mounted with very talented musical theatre performers, everybody played their parts at breakneck speed as if they had a train to catch and I felt the show suffered as a result. My reaction at the time was that the director didn't actually trust the basic material and had to energise it in what seemed to me to be an unacceptable way, but if that approach worked for you then fine – you are not alone in being very happy with that particular production!
There are some rewrites in the Blakemore production as well (by John Guare, who should know better), and they are not improvements.
I liked Opera North's 'Carousel' very much; I missed this 'Kiss Me, Kate' when it played the Lowry a couple of years ago, but I'm seeing it next week. As far as I'm concerned, if nothing else, getting to hear that score performed live by that large an orchestra is worth the money.
|
|
1,936 posts
|
Post by wickedgrin on Jun 22, 2018 9:35:02 GMT
I'm not going to sit on the fence here - I didn't enjoy it and was very disappointed.
Too Darn Slow!
The running time was almost 3 hours and we did not get out until 10.25pm! I felt this was not due to the reprises which are in the show but the pace of the dialogue and the tempo of some of the numbers (Wunderbar, So in Love) were slow too.
On the positive side the orchestra were excellent and the singing too was glorious but on this showing I do feel that Opera companies should not do musicals - it is a different discipline.
It is in the wrong theatre - far too big for this. I was in the 4th row of the Dress Circle and the show seemed miles away and black legs brought the stage in by about a third. The set looked lost.
The production reminded me of the old D'Oyly Carte Opera where the shows were set in aspic and this had all the traits! The chorus just coming on and standing and singing while the "dancers" danced in front! The chorus managed to raise their arms at the same time which seemed a considerable achievement. Cloths were caught on other scenery, there was a mal functioning sliding panel, poor lighting (underlit) and an overuse of the follow spots.
Some very odd staging decisions - I Hate Men and Too Darn Hot - which failed completely to lift off being set on the stage with the cast just hot under the lights in their costumes rather than in the back alley of the theatre by the stage door cooling off in the night air, which is sexy, sweaty and jazzy.
Performance wise - it was well sung but only the actors playing Bill and Lois made an impact and delivered the best musical numbers of the evening - a show stopping "Always true to you Darling in my Fashion" from Lois and "Bianca" from Bill - great tap dancing! But the company were mercifully off stage for these.
The ending of the show sits very uncomfortably now with the wife kneeling to her husband in subjugation.
However, despite the swathes of empty seats in the Dress Circle (the pricing for this is ridiculous) the old ladies around me (when they shut up talking and unwrapping boiled sweets) LOVED it. No standing ovation, however, warm applause, and everyone just seemed happy to get out.... at last.
I think the best way to enjoy this production is to close your eyes and just listen to it.
|
|
1,465 posts
|
Post by foxa on Jun 23, 2018 9:22:38 GMT
Having booked this more than a year ago (and taken Theatremonkey's excellent advice, gone for £20 side dress circle seats - Row F on the aisle - terrific value) when the date finally arrived and I'd read some tepid responses (some good points above and agree with much of what wickedgrin writes, though not the conclusion), I was braced for disappointment, but with a few quibbles, we enjoyed it.
Zoe Rainey is a witty, funny Bianca and Alan Burkitt, as Billy/Lucentio delivered a 'Bianca' (with the best tap-dancing I've seen this side of Gregory Hines) that was a highlight. Petruchio is very well sung by Quirjn de Lang - his 'Where Is The Life That Late I Led' is terrific. Stephanie Corley wasn't quite right for Katherina and there was no chemistry between her and Petruchio, so that did kick a bit of a hole in some scenes. But the staging was endlessly inventive and fun - it didn't seem like it would work but the stage changes during 'Always True to You...' were so outlandish they justified the song's several reprises.
I had taken my family to see the Blakemore 'Kiss Me Kate' when my daughter was so little she had to sit on a bolster seat, so this was a bit of trip down memory lane for us.
My daughter calculated afterwards, that as there are 20 songs in the musical and we'd paid £20 for our tickets, a pound a song wasn't bad. The audience seemed to enjoy it, but there was no standing ovation and Bianca and Billy got more of a reaction than Katherine/Petruchio.
If you can get a deal on tickets, I'd recommend and would keep my eyes open. ;-)
|
|
|
Post by Boob on Jun 23, 2018 13:24:48 GMT
I didn’t realise how good the Michael Blakemore production was until I saw the woeful Sir Trev revival at the Old Vic, which pretty much put me off the show. That, coupled with the fact I hated Jo Davies’ Carousel, means I’ll be giving this a wide berth.
|
|
615 posts
|
Post by jamb0r on Jun 23, 2018 16:43:55 GMT
Enjoyed this much more than I was expecting last night! I loved the dancing and there were some excellent performances. The set did look a little lost on that huge stage at times and some of it does drag on a bit, but definitely glad I went. I had one of the £20 seats towards the back of the dress circle at the side, but I ended up moving to the middle nearer the front and practically had a whole row to myself. If you can get one of those £20 tickets they are a bargain! I wouldn’t have known about them if it wasn’t for this board.
|
|
3,485 posts
|
Post by showgirl on Jun 23, 2018 22:28:47 GMT
I was at the Thursday matinee and was underwhelmed by this. It would sound arrogant to say that perhaps it seemed more special to regional audiences and that's not true anyway, as on the same day Michael Billington gave it a 4-star review. However, though it was perfectly pleasant it wasn't the outstanding experience I had been led to expect and was hoping for, and with hindsight I'd have preferred to spend the money - and the precious time - seeing something new or more deserving.
It was also far too slow; indeed, at the end of the first act I wasn't even sure whether it was worth staying but I did - partly because it was a bit late to hope to fit in a film before the evening play I'd booked. So in the end I had a reasonably good time but as with 42nd Street and An American In Paris, I couldn't see what all the fuss was about. After not really "getting" those and hating The Rink, I really need to have my faith in musicals restored, but I don't know what it will take to do that.
|
|
1,089 posts
|
Post by tonyloco on Jun 24, 2018 10:34:21 GMT
I'm opening a can of worms here, but several posters have complained that this production is too slow, both the musical numbers and the dialogue scenes, whereas one of my complaints about the Michael Blakemore version was that it was too fast!
I'm not sure what the answer is, but I felt that with the present production, neither of the two main leads had the right kind of musical theatre charisma and there was rather a lack of chemistry between them so their (sometimes rather lengthy) off-stage dialogue scenes fell flat as a result, not to mention their Petruchio/Katherine "Shrew" scenes. I also think the dressing room scenes were not helped by being played on poorly lit big open sets – they needed small inner sets like Dorothy Brock's dressing room in 42nd Street to help focus attention.
As to the musical numbers being too slow, especially the romantic ones, I don't agree other than to say perhaps Mr Porter was overgenerous in providing rather too many numbers in a long show, except to say that the great Broadway shows from the "Oklahoma!" era are all pretty much three-hour jobs with long first acts and none of us that love them want to see anything cut or re-written!
Maybe I have to fall back on what I have said before, namely that in general opera companies should not do Broadway musicals!
|
|
1,936 posts
|
Post by wickedgrin on Jun 24, 2018 11:52:39 GMT
I agree with much of the above tonyloco although I did think the production and some of the numbers slow. Certainly shows of that era were/are 3 hours long - currently the R&H King & I at the Palladium. But shows cannot be preserved in aspic. I witnessed a total re-imagining and impressively sung production of G&S Iolanthe with an all male cast in the same week as Kiss Me Kate. D'Oyly Carte Opera Company went to the wall trying to preserve these shows as they were originally staged. So I think that revivals of musicals today have to recognise the changes - a shorter attention span for example and up their game. So I think the numbers in this show needed a little more pep, as did the dialogue. I agree completely about the lack of chemistry between the leads, and when the supporting roles were better played (Bill and Lois) it unbalanced the whole show. Some of the staging too simply did not work as you say.
|
|
1,912 posts
|
Post by sf on Jun 24, 2018 13:50:04 GMT
It would sound arrogant to say that perhaps it seemed more special to regional audiences and that's not true anyway So why mention it?
|
|