Salad Days - Union Theatre / UK tour

Right; reading back through this thread, I have to laugh. I don’t think I’ve ever been so far apart opinion from the consensus.

I’m not one to leave early from shows - sure, if something is just not my cup of tea, I might go at the interval on occasion, with due respect to what the production is trying to achieve - especially with a long journey home in mind.

But this was something else. I lasted 35 minutes. Unquestionably my personal worst ever touring musical production. Frankly, a new low in professional musical theatre.

I should say at this point, that the review was the (part of the) show I saw, on opening night, on the first show of the whole tour. I’m sure aspects of the below will improve - they honestly couldn’t get any worse, so it’s pretty much a given.

And the reason I left is as it wasn’t getting any better in my personal view, although that’s not to say that the second act wasn’t potentially a lot better.

The audience was small tonight, with the higher levels closed. They were muted throughout, and two parties had left (one hadn’t come back by the time I went). But taste is subjective and I’ve seen people leave perfectly good shows, so this shouldn’t colour any opinions.

There was a wobble at the top of the show, with the followspot flickering a bit on the front curtain. But the show went up on time, to its credit.

Now, I’ve listened to the cast recording once or twice in the past and found the material inaccessible, because it feels somewhat dated even by “old fashioned musicals” standards. But I recognise there are a few ear-wormish tunes. I certainly wouldn’t say I was a fan of the material before booking, but I’ve been won over by shows of its kind more times than I care to remember. I often find having low expectations helps me to enjoy a show more and not judge everything too critically or by world class standards.

The house curtain flew out. A gazebo centre stage housing the pianist/MD, a percussionist and what appeared to be an all-rounder. A band of three, excluding the plot-central actor musician at the “magic” piano. If I’m wrong and more actor-musicians arrive throughout the show, please tell me and I’ll edit my review so it isn’t misleading.

I should mention at this point that a premium seat on Saturday night for this show costs over £45 to book through ATG online.

The set is embarrassing. While I was watching, it consisted of a gazebo, some patio furniture and the upright piano with a flowery pattern painted on it. The cyclorama (the plain white screen at the back of the stage) various colours, lit by a row of LED lights underneath. That forms the “backdrop”. “An American in Paris” used projection cleverly, although I wasn’t mad crazy about the show, it was a top-price worthy West End experience. This has coloured LED bulbs. And I paid £30 for my seat at THAT show.

The production values are atrocious, across the board. It looks way below recent amateur productions which I’ve seen (such as a brilliant “Chess” in Lewes). It is without doubt the single cheapest looking professional touring musical I have ever, or likely will ever see.

The first thing I noticed as the show started was the state of the floor. Good grief!!! I don’t even know where to start. I’m guessing it was recycled from either a different long-running show elsewhere, or this production but in a much smaller space of the Union. It has dirty black scratch marks all over it (not part of the design) and should never have been allowed to open in that condition.

But the worst part is that it doesn’t come close to fitting the (already not massive) stage at the Brighton Theatre Royal. The “playing space” stops about 3 feet short of the wings. How can something like this happen?! As a theatre professional myself I would be ashamed of this work. I wouldn’t let this happen in an amateur show either.

Worse, the hanging black cloth masking was nowhere near flush to the floor, in fact, it was at least a foot clear of the floor. This means a) it looked really naff and b) you could see the feet of the actors waiting to enter (more interesting than the stage theatrics).

The lighting was dreadful. Sub am-dram. The followspot wasn’t lighting the principal actors’ faces! Far too many shadows on the stage - and they lit the whole thing rather than just the playing space, making that gap between the floor and the bare stage look even more prominent as the actors awkwardly rushed to the wing masking.

I could hear everything loud and clear, the microphones worked and the musicians were playing in tune.

The performance was very flat, there wasn’t applause where there should’ve been. It was very muted and bemused by those around me, although I tried to lead a bit as I felt a bit bad for the performers.

The acting was very stilted and awkward though, I’m afraid. It seemed under-rehearsed (unsurprising given the general lack of money which has gone into this show). One number in particular, “Find Yourself Something to Do” was a mess. Actors out of time with each other, with the band out of time with them. It was head in hands bad, like the first time they’d done it in full. I’d suspect here that this was an issue with foldback (the singers being able to hear the band and vice-versa) rather than ability.

I hand on heart can’t remember a cheaper, poorer standard professional tour of musical theatre in this country.

Maybe I won't see it in Coventry after all! 😉

You may very well completely disagree! It wouldn’t be the first time. But I really can’t find anything good to say about what I saw, except that the sound levels were fine and it started on time.

Oh dear. Seeing this three weeks tonight at The Lowry. Sounds like it's going to be a long evening!!

Just came back from this and thought it was quite wonderful. Absolutely nothing about the minimal set or overall staging bothered me, I thought it was all quite pretty in its simplicity.

Performances were great, some very funny and you couldn't fault the enthusiasm of the cast. Really good choreography too.

Was a shame to see the theatre so empty but those there seemed to be really enjoying themselves. I think the cast were relieved they got a good curtain call.

He was off tonight, for which I was grateful because the swing that went on for the actor who was Mr. Anderson's understudy was tasty.

Mark Anderson is playing Timothy the male lead in this but unfortunately was off the night I say the show, his part being played by his understudy Lewis McBean.

Has anyone seen both this production & the Tete a Tete (sorry, can't do the accents on my phone) one that was on at the Riverside Studios a few years ago? I really loved the piece when I saw it then, ended up seeing it 5 times over the 2 runs, so I'd quite like to see it again but at the same time I don't want my memories of that production spoilt if this new one isn't as good.

The Tete one was fabulous, which is why I am holding back on this one

I enjoyed it at the Riverside too.

It is a piece that I have always loved. It is utterly silly and delightfully charming. It makes no pretence at being high art. It is hard to get the tone right in our more cynical age.

It was never intended to be anything other than a piece of froth - and that is why I do love it.

I can see how people might find it twee or irritating.

Now for a revival of Bless the Bride... please?

I agree. I saw a production at the Vaudeville many years ago (1996 -- Kit and the Widow et. al.; directed by Ned Sherrin) and still hum the songs from the show. I enjoy listening to the CD of an earlier production. I live in New York -- we don't often get these charming British musicals.