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Post by Deleted on Nov 25, 2017 14:52:06 GMT
I actually like this musical
The original production was at a time
When I was joyful
Health and wealth abound
The pastiche of ALW suits the melodrama of the story
The music is atonal and evocative
I find the era and period atmospheric
Sadly they have chosen a cast
Who
Cannot sing
The sets are abysmal
Cheap and nasty
Costumes likewise
And the lack of care is shown in the massive mikes which are taped to the centre of the forehead of each performer
This lack of care and penny pinching
Ruined the show for me
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Post by freckles on Nov 25, 2017 15:23:02 GMT
The cast I saw could sing fine.
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Post by Deleted on Nov 25, 2017 16:36:06 GMT
The cast I saw could sing fine. We all have differing standards It was hardly Maria Friedman Perhaps it was the amazing sound system Everything about this production Is inferior to the Palace staging and casting And that had it flaws For £40 No wonder it’s empty The seed and costumes are a particular disgrace Rips and tears in half of them And those mikes Like an insect sitting on their face 😂😂 |
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Post by Boob on Nov 25, 2017 17:28:13 GMT
Inferior voices to Maria Friedman?! Definitely not going!
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Post by SageStageMgr on Nov 25, 2017 21:19:47 GMT
Ali - thanks for your excellent review. Have the lyrics improved? |
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Post by Phantom of London on Nov 26, 2017 12:36:25 GMT
This is a decent production of a otherwise pedestrian show, how the Charing Cross Theatre, managed to stage this, baring in mind they have no space in the wings, nor the fly is amazing. The Woman in White has some decent music, no one ever claim it was Webber’s best, it is no where near that feat and has a mixture of likeable lyrics by David Zippel, But some do verge on the bizarre, but all this is straightjacketed by Charlotte Jones book, that has taken liberty form Wilkie Collin’s great book. {Spoiler - click to view}
in the book Sir Percival Glyde doesn’t get in a fight at the station and run into the tunnel, then hit by a train, he simply dies in a house fire in Limmeridge House and the real shame was he took the title of “Sir” when not really entitled and this was felt a very shameful thing to do The Woman in White has 3 Women characters that are very similar, hence the book deals with mistaken identity, however this doesn’t work on stage, as you aren’t always trying to work out who the charechter is now and their relationship with the 2 other ladies, in the book they always name the person, the stage doesn’t, so hard to follow. {Spoiler - click to view}
The ending was a damp squib too when Glyde got killed by the train and should’ve gone with the projection here (the only time),the tunnel at the back of the stage fills up with artificial dried ice, so should have projected it, off this like they did Very effectively in the Bodyguard (second instalment) so effectively. The book which was published in Victorian Times, was a great sociology lesson and highlighted how men of title and prominence, ould simply make problems disappear and have people condemned to mental asylum, even though they are mentally fit. A good attempt, so worthy of 3 Stars. |
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Post by BurlyBeaR on Nov 26, 2017 12:42:42 GMT
Reminder to use spoiler tags when revealing plot details please!
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Post by princeton on Nov 26, 2017 17:04:22 GMT
A couple of the cast who 'can't sing':
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Post by Deleted on Nov 26, 2017 18:23:48 GMT
A couple of the cast who 'can't sing': If they were anyone of note They would not be appearing At Charing Cross Theatre 😂😂😂😂 |
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Post by Deleted on Nov 26, 2017 18:28:31 GMT
This is a decent production of a otherwise pedestrian show, how the Charing Cross Theatre, managed to stage this, baring in mind they have no space in the wings, nor the fly is amazing. The Woman in White has some decent music, no one ever claim it was Webber’s best, it is no where near that feat and has a mixture of likeable lyrics by David Zippel, But some do verge on the bizarre, but all this is straightjacketed by Charlotte Jones book, that has taken liberty form Wilkie Collin’s great book. {Spoiler - click to view}
in the book Sir Percival Glyde doesn’t get in a fight at the station and run into the tunnel, then hit by a train, he simply dies in a house fire in Limmeridge House and the real shame was he took the title of “Sir” when not really entitled and this was felt a very shameful thing to do The Woman in White has 3 Women characters that are very similar, hence the book deals with mistaken identity, however this doesn’t work on stage, as you aren’t always trying to work out who the charechter is now and their relationship with the 2 other ladies, in the book they always name the person, the stage doesn’t, so hard to follow. {Spoiler - click to view}
The ending was a damp squib too when Glyde got killed by the train and should’ve gone with the projection here (the only time),the tunnel at the back of the stage fills up with artificial dried ice, so should have projected it, off this like they did Very effectively in the Bodyguard (second instalment) so effectively. The book which was published in Victorian Times, was a great sociology lesson and highlighted how men of title and prominence, ould simply make problems disappear and have people condemned to mental asylum, even though they are mentally fit. A good attempt, so worthy of 3 Stars. I felt it was a poor and cheap attempt At a moderate show The train scene is laughably staged The production values are very very low |
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Post by firefingers on Nov 26, 2017 22:36:07 GMT
Re:Mic placement.
This being a Thom Southerland show can I ask if the cast occasionally wear hats? If so that explains the mic placement being low on the forehead. A hat with a brim will smother the sound if the mic is in the hairline. Big budget shows will often add mics into the hats to avoid this but at 350 seats theatre the money just isn't available.
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Post by Deleted on Nov 26, 2017 23:37:25 GMT
Re:Mic placement. This being a Thom Southerland show can I ask if the cast occasionally wear hats? If so that explains the mic placement being low on the forehead. A hat with a brim will smother the sound if the mic is in the hairline. Big budget shows will often add mics into the hats to avoid this but at 350 seats theatre the money just isn't available. A few of the cast do wear them But only briefly Most of the time no hats |
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Post by spendleb on Nov 27, 2017 9:25:10 GMT
This is a decent production of a otherwise pedestrian show, how the Charing Cross Theatre, managed to stage this, baring in mind they have no space in the wings, nor the fly is amazing. The Woman in White has some decent music, no one ever claim it was Webber’s best, it is no where near that feat and has a mixture of likeable lyrics by David Zippel, But some do verge on the bizarre, but all this is straightjacketed by Charlotte Jones book, that has taken liberty form Wilkie Collin’s great book. {Spoiler - click to view}
in the book Sir Percival Glyde doesn’t get in a fight at the station and run into the tunnel, then hit by a train, he simply dies in a house fire in Limmeridge House and the real shame was he took the title of “Sir” when not really entitled and this was felt a very shameful thing to do The Woman in White has 3 Women characters that are very similar, hence the book deals with mistaken identity, however this doesn’t work on stage, as you aren’t always trying to work out who the charechter is now and their relationship with the 2 other ladies, in the book they always name the person, the stage doesn’t, so hard to follow. {Spoiler - click to view}
The ending was a damp squib too when Glyde got killed by the train and should’ve gone with the projection here (the only time),the tunnel at the back of the stage fills up with artificial dried ice, so should have projected it, off this like they did Very effectively in the Bodyguard (second instalment) so effectively. The book which was published in Victorian Times, was a great sociology lesson and highlighted how men of title and prominence, ould simply make problems disappear and have people condemned to mental asylum, even though they are mentally fit. A good attempt, so worthy of 3 Stars. I felt it was a poor and cheap attempt At a moderate show The train scene is laughably staged The production values are very very low So much hate Parsley and soooo many carriage returns! |
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Post by Deleted on Nov 27, 2017 9:46:36 GMT
A couple of the cast who 'can't sing': If they were anyone of note They would not be appearing At Charing Cross Theatre 😂😂😂😂 Indeed. Just like that Betty Buckley woman who has appeared there. Who is she anyway? |
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630 posts
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Post by jamb0r on Nov 27, 2017 10:05:38 GMT
£15 tickets on TodayTix on the cyber Monday sale today! Snapped one up for next week
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Post by anthony on Nov 27, 2017 10:24:06 GMT
Picked up a ticket for the Saturday Matinee from TodayTix (and then evening seats for The Exorcist!).
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Post by notmymuse on Nov 27, 2017 11:45:29 GMT
I saw the matinee on Saturday - about 4/5 full and the people sitting around me at least appeared to be genuine punters, so I don't think it was papered much (if at all).
I really really enjoyed this. I was listening to the OCR this morning, and I thought the singing was far better in this new version. I must have mis-read the news about this as I thought Greg Castiglioni was playing Hartright, so that caused me a bit of confusion for a while, but Ashley Stillburn had a lovely voice and sang beautifully. The three women were also all very strong, and there are some just lovely moments of harmony singing throughout. The cast coped really well with the score in general, and Caroline Maitland was able to belt higher than Maria Friedman could, so adds more power to All for Laura. Chris Peluso seemed to struggle at one point with a higher phrase or two which is odd as I was sure Glyde was a bass-baritone and it should be comfortably in his range, but I could be wrong on all counts. I didn't like him as much as I did in Death, but he was still fine.
The set is a step above the usual Charing Cross standards, and given the quality of the cast I didn't mind paying the higher price.
I saw (and loved) the original at The Palace and was trying to work out the differences. Lammastide has been cut, and the chorus don't have a lot to do in general. I also think there may be a scene or two between Count Fosco and Sir Glyde that has been cut, and the rats are gone. It works better without them, to be honest. The ending I'm not sure lands too well now, and the train scene needs to be re-staged - if he was standing just a few steps more upstage, it would work fine so it's an odd choice.
In general, I found all the characters pretty convincing and there's not really a weak link. The one thing I didn't like amazingly was the pace. The show rockets along (it seems a fair bit shorter than the original - maybe 15 minutes or so?) with barely a chance to catch breath. Which occasionally makes lurching from one song into another seem a bit jarring, and a bit of time to pause would allow it to seem more menacing and brooding. As it is, you've barely a chance to think before they launch into another song.
But that's a quibble really. A nice production of a very good show, with some beautiful songs and sung really well. I'll go again if I get the chance.
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Post by Theo on Nov 27, 2017 12:37:23 GMT
I noticed a different melody for parts of 'I Hope You'll Like It Here', 'Lost Souls' is more of an instrumental piece now. 'If Not For Me For Her' which was cut for the Broadway version is back. Saw the original production quite a few times at The Palace and was in London last week to see this new version. I absolutely loved it and the singing was amazing. Have booked to see it again.
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Post by chernjam on Nov 28, 2017 6:34:34 GMT
Theo and Not - thanks for the details... could you explain the change to the ending in a spoiler section. I saw the original broadway production twice and enjoyed it a great deal - but doubt I will make it to UK to see this (as it doesn't sound like it will extend or transfer) I am happy to hear they cut Lammastide as I hated it and bringing back If not for me for her sounds like a good move. Any substantial lyric changes or other music changes? Kind of hoped they'd record this, but that doesn't seem likely these days
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Post by BurlyBeaR on Nov 28, 2017 8:30:25 GMT
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Post by Theo on Nov 28, 2017 11:19:35 GMT
I tried to remember as much of the changes as I could but I'm sure I forgot some. {Spoiler - click to view}The current ending is more or less a mixture of the first West End version and the changes they put in for the Broadway show. The scene where Marian visits Anne's grave to lay down a wreath there is back. And whilst stood at the grave there is a man chiseling out her name on the tombstone. Anne's ghost is also present. After that there is a reprise of 'I Believe My Heart' with Laura and Walter followed by the final scene a reprise of 'Trying Not To Notice' where Marian is left heartbroken revealing she now has a secret of her own. As I understood from the press reports this is a revised version but there are not as much changes as I expected really. The only new music is where parts of 'I Hope You'll Like It Here' are rewritten. I quite liked the fact that the choral piece sung inside the church in the original version (just before Walter meets Anne for the second time) is now featured more predominant in the score. 'If I Could Only Dream This World Away' that opens Act II is sung both by Laura and Marian, but I believe that was also the case in the second version of the show ? |
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Post by freckles on Nov 28, 2017 11:46:30 GMT
I tried to remember as much of the changes as I could but I'm sure I forgot some. {Spoiler - click to view}The current ending is more or less a mixture of the first West End version and the changes they put in for the Broadway show. The scene where Marian visits Anne's grave to lay down a wreath there is back. And whilst stood at the grave there is a man chiseling out her name on the tombstone. Anne's ghost is also present. After that there is a reprise of 'I Believe My Heart' with Laura and Walter followed by the final scene a reprise of 'Trying Not To Notice' where Marian is left heartbroken revealing she now has a secret of her own. As I understood from the press reports this is a revised version but there are not as much changes as I expected really. The only new music is where parts of 'I Hope You'll Like It Here' are rewritten. I quite liked the fact that the choral piece sung inside the church in the original version (just before Walter meets Anne for the second time) is now featured more predominant in the score. 'If I Could Only Dream This World Away' that opens Act II is sung both by Laura and Marian, but I believe that was also the case in the second version of the show ? Here's what confused me: {Spoiler - click to view}
It was the guy chiselling the headstone at the end, presumably removing Laura's name and adding Anne's. I thought Laura and Walter went off to marry/live secretly together, and Marian upheld the pretence that Laura had died. Wouldn't altering the headstone spoil all that? Or perhaps I misunderstood. |
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Post by Theo on Nov 28, 2017 11:54:26 GMT
Your guess is as good as mine ... My thoughts in the spoiler below {Spoiler - click to view}That was my idea also, removing Laura's name from the tombstone and replacing it with Anne's. Sort of laying her to rest finally. Walter and Laura marry, leaving Marian alone with her secret of having loved Walter all this time and now unable to reveal it to anyone. Anyway that is my interpretation of the ending. Could be wrong though ! |
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Post by Seriously on Nov 28, 2017 18:46:05 GMT
Sadly they have chosen a cast Who Cannot sing If only Jamie Campbell Bower had been available. He was amazing in Bland It. |
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Post by musicalmarge on Nov 28, 2017 22:44:44 GMT
Well I saw this tonight after hating it at The Palace years ago. I always said this and Stephen Ward were ALW’s weakest shows and made jokes about them both.
That said, give a proper set (not computer windows graphics), strip the story back, get better performers, remove the rats and fat suit and you can actually see a good show with stand out songs and a clear narrative, book and story.
Despite the songs being repetitive, too much recitative (speak singing), some naff melodies and music that doesn’t always fit the time period of the piece (I believe my heart) this new production at the Charing Cross Theatre was enjoyable with better singing and solid acting from everyone than the West End original.
The direction was focused, staging worked brilliantly and so many problems of the original show ironed out. So glad I saw it, and even came out humming various tunes. Glad the effort was made to restage this misunderstood musical - that I for one always frowned upon! I even though the train effect, smoke and lighting worked rather well for the space.
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