|
|
Post by Deleted on Mar 15, 2018 23:21:17 GMT
I was sat in the side stalls so they weren't the best seats for sound, but it was still better after the interval. When I win the lottery and produce a big scale revival of The Secret Garden, Damian Humbley will play Archibald Craven. I must hear him sing Lilly's Eyes. I have a crush on him after tonight  |
|
4,029 posts
Member is Online
|
Post by Dawnstar on Mar 15, 2018 23:22:34 GMT
From the front row the orchestra tended to overpower the soloists. Like many of the musical Proms, I imagine the sound balance will be better on the radio than in the hall. I think my personal highlight was seeing Damian Humbley doing "Franklin Shepard, Inc." again. I can't imagine anyone else could do that number better. (Bonus that it was right in front of my seat.) Other highlights for me included Julian Ovenden's "Epiphany" & "Finishing the Hat", Rebecca Trehearn's "I Read", Liz Calloway's "Not a Day Goes By" done combined with Claire Moore's "Losing My Mind", and the full company "Sunday". Great to finally meet @theatremonkey in person (monkey?!), though disappointingly he doesn't look much like his profile pic ;-) Nice interval chat with him & Steve. |
|
8,157 posts
|
Post by alece10 on Mar 15, 2018 23:25:03 GMT
Well I thoroughly enjoyed the evening and thought the sound was excellent. The voices were crystal clear where I was sitting. Which is always a problem at the RAH as you can never hear the singers. I knew what to expect as ive had the Broadway cd for a few years and a few bits have been cut out for this producton.
Always a pleasure to hear Sondheim played by a full orchestra.
Julian Ovenden and Damian Humbleys voices were a dream to listen to. I so wanted Julian to sing Being Alive but thought that Tyrone did a great job of that number. I knew Damian would nail the song from Merrily but he should do as he played that role at the Menier and West end. The 3 ladies were excellent also.
Favourite number was finale act 1 and Sunday which it's my all time favourite Sondheim song.
Great night and looking forward to hearing it on the radio next week.
|
|
781 posts
|
Post by latefortheoverture on Mar 15, 2018 23:26:50 GMT
god I wish I could've made this concert! Does anyone know if it's being broadcast anywhere....
|
|
2,859 posts
|
Post by couldileaveyou on Mar 15, 2018 23:27:55 GMT
The problem with a show like this is that most of the songs have been sung by extraordinary performers in unforgettable renditions: with a repertory like this is impossible not to make comparisons. It's also a pity that many songs have been re-arranged into quartets or sextets, especially because harmonies were not this cast's strongest asset. All tonight's performances were nice, but they were more pleasant than memorable. The exceptions were Damian Humbley's fantastic Franklin Shepard Inc., Rebecca Trehearn's I Read, The Gun Son, and Liz Callaway and Humbley's Beautiful. *** Oh, and Opening Doors, that was really excellent |
|
|
|
Post by Deleted on Mar 15, 2018 23:28:10 GMT
god I wish I could've made this concert! Does anyone know if it's being broadcast anywhere.... It on March 20th on Radio 3 at 7.30pm |
|
2,859 posts
|
Post by couldileaveyou on Mar 15, 2018 23:28:20 GMT
god I wish I could've made this concert! Does anyone know if it's being broadcast anywhere.... BBC 3, next Tuesday ops sorry @tbfl, you preceded me! |
|
1,347 posts
|
Post by tmesis on Mar 16, 2018 0:14:30 GMT
I have some reservations but in the end I really enjoyed this. I agree the sound balance was bad at the start and although it did improve the orchestra was always too dominant and the voices sounded a little synthetic. Not all the (re)arrangements worked - lots of unnecessary flute arabesques added to Send in the Clowns and an absolutely horrible arrangement of Something's Coming. However, the combining, in counterpoint of Losing my Mind and Not a day Goes By was both very clever and moving (beautifully performed too.)
As a concept the show works well; the Sondheim interviews and the choice and pacing of the musical numbers was expertly done - however, as an evening's entertainment, and I know I'm not quite comparing like with like, it was not as satisfying as Side by Side Sondheim or Putting it Together.
The orchestra played very well and idiomatically and all the singers were first rate.
The stand out performer for me was Damian Humbley but I was very impressed by Tyrone Huntley who very much held his own in comparison to the other, more experienced, performers.
|
|
1,970 posts
|
Post by sf on Mar 16, 2018 1:31:19 GMT
As others have said, nearly all the songs work better in their original context... but oh my God, Rebecca Trehearn's I Read was worth the journey. I didn't think the format completely worked, but it's a rare treat to hear this music played by that large an orchestra, and the six singers were all impeccable.
Let's just hope they fix the sound balance issues for the radio broadcast.
|
|
4,987 posts
|
Post by Someone in a tree on Mar 16, 2018 8:18:50 GMT
Really adored this. Interesting film material creating a dramatic arc and then some of the best songs ever written. Great cast and orchestra
Highlights for me -
Somethings coming
Franklin Shepard
Best thing that has ever happened
Being Alive
Losing my mind / Not a day goes by
Beautiful
Please bring this cast back. This would make a great Christmas production at the Menier
Pretty please cast Damian Humbley in everything. The guy is a genius
|
|
24 posts
|
Post by mistertonymac on Mar 16, 2018 8:58:31 GMT
As others have said, nearly all the songs work better in their original context... but oh my God, Rebecca Trehearn's I Read was worth the journey. I didn't think the format completely worked, but it's a rare treat to hear this music played by that large an orchestra, and the six singers were all impeccable. Let's just hope they fix the sound balance issues for the radio broadcast. Totally agree. I Read was a massive highlight. |
|
1,089 posts
|
Post by tonyloco on Mar 16, 2018 14:06:50 GMT
I agree with most of what previous posters have said, but unfortunately more on the negative side than the positive one.
The older I get the more of a purist I seem to be becoming and I was horrified by the ghastly version of 'Something's coming' early in the show, both regarding the vocal and the orchestral arrangement, which rather set me off listening for things I didn't like rather than things I did like as the show went on, which was not helped by the poor sound quality of the voices early on.
One thing that did strike me was that in talking about keeping lyrics simple, Sondheim mentioned that in a musical show the punter has a lot of things to take in as part of the dramatic experience and yet here we just had singers walking on and off with no dramatic context (other than to give examples of what Sondheim was saying) and I felt that few of them were able to provide that extra dimension in their singing alone to make up for being out of theatrical context. But there were exceptions, and I take my hat off (see what I did there!) especially to Tyrone Huntley and Damian Humbley who both managed to make their contributions memorable. Yes, the ladies did some good things too but not everything of theirs worked fully for me.
And I agree with tmesis that although not comparing like with like, this event failed to achieve the cohesion that 'Side by Side by Sondheim' did, both in its original production and the recent revival, where Sondheim's brilliant compositions were brought together to achieve something special that became a total theatrical experience in its own right.
|
|
2,859 posts
|
Post by couldileaveyou on Mar 16, 2018 14:09:06 GMT
I'm afraid I found the Losing My Mind / Not a Day "mash up" a mess - they are both beautiful, but do not belong together, so move on, please. Oh thank god I hated it with a passion |
|
24 posts
|
Post by mistertonymac on Mar 16, 2018 14:18:17 GMT
I'm afraid I found the Losing My Mind / Not a Day "mash up" a mess - they are both beautiful, but do not belong together, so move on, please. Oh thank god I hated it with a passion Me too - the end was a car crash (no fault of the singers). Something's Coming was infuriating too - glad was at the beginning as was uphill from there. The second half was universally excellent I think. |
|
1,347 posts
|
Post by tmesis on Mar 16, 2018 14:23:24 GMT
I'm afraid I found the Losing My Mind / Not a Day "mash up" a mess - they are both beautiful, but do not belong together, so move on, please. Oh thank god I hated it with a passion Well I was very hostile towards it at first - after all they are two of his very greatest songs - but in the end I thought it very well done and loved it. |
|
|
|
Post by Deleted on Mar 16, 2018 14:31:07 GMT
I dont like West Side Story, hate jazz, so the jazzy arrangement is Somethings Coming was like the worst point of the evening to me.
|
|
|
|
Post by Deleted on Mar 16, 2018 14:52:44 GMT
Fun evening but agree with some of the negative comments here particularly about the sound balance.
Found some clips of the original Broadway production - looks like fairly elaborate staging for each song so perhaps a full production of the show would work better?
|
|
|
|
Post by Mr Snow on Mar 16, 2018 16:11:17 GMT
First Caroline is Great…fun. So nice to meet my second TB member.
And the show was pretty good too.
Re the marmite moment, I loved it. So beautifully knitted together. IN fact the opening of Act two through to Being Alive, seemed to be on a higher intensity than the rest of the evening. Although I also enjoyed the 3 versions of the opening of A Funy Thinkg… and the Latin Something’s Coming.
Not so good bits.
If everyone had sound problems it soothes my objections. In a box high up, the speakers were suspended from the ceiling directly in front of me. It meant the voices were loud and quite probably I was hearing only one side of a stereo mix.
If only I’d checked Theatre Monkey, should I have known?
A Weekend in the Country, a personal fave, was lost in the medley.
Although I liked all the performers I found that Liz Callaway started all her songs in the same little girl bland voice that is so familiar from Disney movies and the Elaine Paige R2 show. Only as songs developed did she allow her voice become more natural and the story emerge?
Enjoyed myself but not a show I would rush to see twice.
|
|
4,211 posts
|
Post by anthony40 on Mar 16, 2018 18:34:40 GMT
For what it's worth, I loved this.
Though to be fair, as a Sondheim fan, I'm a tad biased.
So, I've been thinking about this today at work. Interesting song selection and it seemed every show was covered- with Gypsy and Pacific Overtures being the notable exemptions.
How wonderful that songs from Passion, Assassins and Road Show were all included, as often the last two were left out. And although there were some, we weren't swamped with songs from Follies.
Something Just Broke and The Gun Song were performed perfectly.
(Not that I'm complaining) but I thought the incising of Franklin Shepherd Inc. was an interesting choice. Asa was Opening Doors. Again, brilliantly sung.
Yes, there were a few noticeable sound issues but none that phased me too much.
As much as I enjoyed it (and I really did)- I do not wish to come across as complaining but there were so many other songs that they could have included:
I thought we would have heard some of the following:
Now/Soon/Later
It Would Have Been Wonderful
Every Day A Little Death
Liaisons
Getting Married Today
Sorry/Grateful
You Could Drive A Person Crazy
I Love Fosca
Hello, Little Girl
Agony
Stay With Me
Johanna
A Little Priest
We Do Not Belong Together
Move On
One Last Kiss
I'm still Here
Who's That Woman
Just to name a few. I mean the guy's got such a huge back catalogue, I guess how do you pick?
I thought Beautiful was (literally) sung beautifully. And Sunday- I was almost moved to tears.
Some glorious voices on show last night.
Being Alive was sung effortlessly, as was I Read and (You Are) The Best Thing. Likewise In Buddy's Eyes and Loosing My Mind.
Now, I'm not really a crier by nature but Sunday in the Park with George is my favourite Sondheim show and last night, it was all I could do to hold myself back. Wow!
(Now if I can be just a tad self-indulgent here) but it made me realise how lucky I am to truly appreciate the talents of this man.
I also thought it really interesting how in the projections we learnt of his regret over not having children and that he thought that Assassins was his only perfect show.
Saw Mark Shelton last night.
Apologies that I really saw no one from the board. Where I was seated I was mid row and although I did walk around at intermission I didn't see anyone.
|
|
513 posts
|
Post by Deal J on Mar 16, 2018 19:06:17 GMT
I expect you've all seen this before, but the talk of the "Losing My Mind" mash-up reminds me of this fabulous rendition:
Blew my mind the first time I saw it.
|
|
|
|
Post by Deleted on Mar 16, 2018 19:23:11 GMT
No, it can be luck. I was in the side slips for Burt Bacharach, and the mix was perfect. I love those seats (I like a nook). Almost always my first choice in the RFH. |
|
1,064 posts
|
Post by bellboard27 on Mar 17, 2018 10:53:18 GMT
No, it can be luck. I was in the side slips for Burt Bacharach, and the mix was perfect. I love those seats (I like a nook). Almost always my first choice in the RFH. The world is divided into those who prefer nooks and those who prefer crannies. One day we may see eye to eye, but I fear it may be a long time yet. |
|
1,089 posts
|
Post by tonyloco on Mar 17, 2018 15:50:31 GMT
BTW My ears pricked up when Sondheim said that he had been inspired to write 'Sweeny Todd' after he saw the play by Christopher Bond at the Theatre Royal, Stratford East, where the brilliant Brian Murphy played the demon barber. That was in 1973 and Sondheim's musical version saw the light of day in 1979. I had completely forgotten that link with Stratford East, although I well remember the link with Lloyd Webber's 'Phantom of the Opera' as told below.
It was in 1976 that Andrew Lloyd Webber saw Ken Hill's musical version of 'The Phantom of the Opera' at the Theatre Royal, Stratford East, after which he found a copy of the original novel and then went ahead and wrote his own completely new musical version of the story that eventually premiered in 1986.
So that's two of the most successful and significant musicals of our time being inspired by productions at Stratford East.
Sorry to divert too much from 'Sondheim on Sondheim' but I like to keep waving the flag for the Theatre Royal, Stratford East, when I can.
|
|
2,452 posts
|
Post by theatremadness on Mar 17, 2018 15:56:51 GMT
BTW My ears pricked up when Sondheim said that he had been inspired to write 'Sweeny Todd' after he saw the play by Christopher Bond at the Theatre Royal, Stratford East, where the brilliant Brian Murphy played the demon barber. That was in 1973 and Sondheim's musical version saw the light of day in 1979. I had completely forgotten that link with Stratford East, although I well remember the link with Lloyd Webber's 'Phantom of the Opera' as told below. It was in 1976 that Andrew Lloyd Webber saw Ken Hill's musical version of 'The Phantom of the Opera' at the Theatre Royal, Stratford East, after which he found a copy of the original novel and then went ahead and wrote his own completely new musical version of the story that eventually premiered in 1986. So that's two of the most successful and significant musicals of our time being inspired by productions at Stratford East. Sorry to divert too much from 'Sondheim on Sondheim' but I like to keep waving the flag for the Theatre Royal, Stratford East, when I can. And they have the same Birthday! That's always pleased me. |
|
314 posts
|
Post by macksennett on Mar 17, 2018 17:41:50 GMT
I too was there Thursday night and enjoyed it, on the whole, although the sound issues were particularly bad in the first half. It's always a pleasure to hear Claire Moore sing and I'd forgotten how good a singer Julian Ovenden is too. Rebecca Trehearn is definitely one to watch - always a strong performance in whatever she's in.
|
|
