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Post by musicalmarge on Dec 5, 2017 14:40:13 GMT
Can anyone give a bit more detail about the changes to the score? I'm curious since it was reported that ALW and Zippel had been working on and off again on this over the last decade what major changes were done to it (and even more, would that be enough to encourage a new recording with this cast that has universally been praised) There aren’t enough changes in my opinion. Some new songs, a new beginning (maybe stand out song) and cutting of the recitivie would really help. |
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258 posts
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Post by notmymuse on Dec 6, 2017 0:02:36 GMT
Can anyone give a bit more detail about the changes to the score? I'm curious since it was reported that ALW and Zippel had been working on and off again on this over the last decade what major changes were done to it (and even more, would that be enough to encourage a new recording with this cast that has universally been praised) There aren’t enough changes in my opinion. Some new songs, a new beginning (maybe stand out song) and cutting of the recitivie would really help. If they've been working on it for a decade they've not been very productive... Lammastide and Marion's Dream are cut along with perhaps a verse here and there, there aren't any new songs (although there may be some new incidental music or recitative but not that I noticed anything major). That's about it. I think there's a fair amount of dialogue cut. It seems to fairly gallop along now. It's hard to say for sure what's cut or not as they made reasonably significant changes when the original London cast changed over and it's hard to remember what changes they made then!! But it's nothing particularly dramatic. I wish I was able to go again though. It's a lovely score and really well sung. |
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Post by lonlad on Dec 6, 2017 0:35:21 GMT
It's gaseous and vacuous and sounds tinny. Good cast though.
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Post by spendleb on Dec 6, 2017 9:47:34 GMT
There aren’t enough changes in my opinion. Some new songs, a new beginning (maybe stand out song) and cutting of the recitivie would really help. If they've been working on it for a decade they've not been very productive... Lammastide and Marion's Dream are cut along with perhaps a verse here and there, there aren't any new songs (although there may be some new incidental music or recitative but not that I noticed anything major). That's about it. I think there's a fair amount of dialogue cut. It seems to fairly gallop along now. It's hard to say for sure what's cut or not as they made reasonably significant changes when the original London cast changed over and it's hard to remember what changes they made then!! But it's nothing particularly dramatic. I wish I was able to go again though. It's a lovely score and really well sung. Listening again to the original cast recording I can now realise how much is cut, lots of exposition! |
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Post by mallardo on Dec 6, 2017 19:34:36 GMT
Saw this today at a well-attended mid-week matinee and thoroughly enjoyed it. I also liked the original back in '04 but this production was infinitely more involving.
It made me realize that the main problem with the Trevor Nunn take was not the projections which, despite inducing motion sickness in the audience, were quite effective at times. The main problem was the characterization of Count Fosco as a bloated human cartoon in a fat suit. Fosco is in every way the most interesting character in the show - already a problem because he is in fact peripheral to the main action - but to make him a grotesque is to amplify the issue. In the Nunn production he was a show unto himself, not a guy who slotted seamlessly into the prevailing melodrama.
Issues still remain with him in this new production but at least he is presented - and wonderfully played by Greg Castiglioni - as a human being who, though still occupying a tangential role in the plot, is nevertheless a member of the cast and not some freakish outlier. His two very good songs now fit into the show's context and not as stand alone diversions.
As noted above the book of the show has been trimmed and well trimmed - no time for ennui. The show has a decent plot and that plot has been streamlined. It works well - kudos once again to Thom Southerland and his crew. And it as been cast well, strong actors with strong voices across the board. I happen to think that this is one of ALW's premier scores and it sounds amazing in David Cullen's elegantly reduced orchestrations.
But I still have issues with David Zippel's too-clever-by-half lyics. His pointed, ostentatious rhymes, which worked so well in a shows like City of Angels and The Goodbye Girl, are misplaced and jarring here. They don't go with ALW's lush melodies nor with the overall atmosphere of the piece. They're always calling attention to themselves, which in this case is a bad thing.
Still, my admiration for this show has been underlined and increased by this production. Well done to all involved.
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Post by jgblunners on Dec 6, 2017 22:56:10 GMT
I saw the evening show today and mostly agree with mallardo - Greg Castaglioni and Carolyn Maitland were the stand-outs for me, I thought both of them were really excellent. Southerland has put together another fantastic show at the Charing Cross, using a simple but effective set once more to aid his superb direction. The score is one of ALWs weaker compositions I think, but there’s a lot in there that’s very good. Not much else to say really except that I had a great time.
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Post by chernjam on Dec 8, 2017 1:17:12 GMT
Saw this today at a well-attended mid-week matinee and thoroughly enjoyed it. I also liked the original back in '04 but this production was infinitely more involving. It made me realize that the main problem with the Trevor Nunn take was not the projections which, despite inducing motion sickness in the audience, were quite effective at times. The main problem was the characterization of Count Fosco as a bloated human cartoon in a fat suit. Fosco is in every way the most interesting character in the show - already a problem because he is in fact peripheral to the main action - but to make him a grotesque is to amplify the issue. In the Nunn production he was a show unto himself, not a guy who slotted seamlessly into the prevailing melodrama. Issues still remain with him in this new production but at least he is presented - and wonderfully played by Greg Castiglioni - as a human being who, though still occupying a tangential role in the plot, is nevertheless a member of the cast and not some freakish outlier. His two very good songs now fit into the show's context and not as stand alone diversions. As noted above the book of the show has been trimmed and well trimmed - no time for ennui. The show has a decent plot and that plot has been streamlined. It works well - kudos once again to Thom Southerland and his crew. And it as been cast well, strong actors with strong voices across the board. I happen to think that this is one of ALW's premier scores and it sounds amazing in David Cullen's elegantly reduced orchestrations. But I still have issues with David Zippel's too-clever-by-half lyics. His pointed, ostentatious rhymes, which worked so well in a shows like City of Angels and The Goodbye Girl, are misplaced and jarring here. They don't go with ALW's lush melodies nor with the overall atmosphere of the piece. They're always calling attention to themselves, which in this case is a bad thing. Still, my admiration for this show has been underlined and increased by this production. Well done to all involved. I really appreciate reading this... As was the case with Aspects of Love, I think the problem was Trevor Nunn. Can only hope that we get to see this over here in the states |
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Post by musicalmarge on Dec 8, 2017 15:08:39 GMT
I enjoyed this more than Hamilton!
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Post by tom on Dec 8, 2017 20:41:55 GMT
At the show this evening. Interval at mo and loving it so far. Think this size production suits the piece. Contrary to what the producer of BILB was saying...
The
Cast
Sound
Glorious!
Enjoying it WAY more than the performance I saw of Les Mis a few weeks back.
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Post by argon on Dec 8, 2017 20:55:18 GMT
Parsley said the singing was bad? I thought it was just superb! Utter nonsense.... [/quote]
It wasn't bad it just wasn't good. All 3 female leads struggled with the score @ times. Occasionally shouting which is not ainging
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Post by tom on Dec 8, 2017 21:59:48 GMT
Parsley said the singing was bad? I thought it was just superb! Utter nonsense.... It wasn't bad it just wasn't good. All 3 female leads struggled with the score @ times. Occasionally shouting which is not ainging[/quote] Must have seen an off night. Was excellent tonight |
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Post by Dr Tom on Dec 8, 2017 22:10:54 GMT
I saw the Wednesday matinee (TodayTix rush - way back but still a decent view). Shockingly full, considering I'd checked the theatre website the previous evening and it looked empty.
I didn't see the original but thought this was great, with some nice twists. A snappy two hours 15 minutes running time (including the interval), so it didn't drag. The songs aren't the most memorable, but they fit.
Good to see Chris Peluso back as well. Hadn't realised he was in the cast.
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Post by musicalmarge on Dec 9, 2017 8:29:40 GMT
Parsley said the singing was bad? I thought it was just superb! Utter nonsense.... It wasn't bad it just wasn't good. All 3 female leads struggled with the score @ times. Occasionally shouting which is not ainging[/quote] A rock belt, smooth opera soprano, choir boy falsetto, musical theatre twang, a deep jazz bass voice, Mongolian throat singing, crazy squeals of Carol Channing - it’s all just vibration in the vocal folds to produce sound and noise. It’s all a form of singing. The cast of Woman in White are some of the best singers on the West End stage. |
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Post by phantz on Dec 10, 2017 13:03:03 GMT
Saw Woman in White matinee yesterday and was blown away.
Focussing the action back on the actors rather than the gimmicks of projection and fat suits was absolutely the right move. My friend described it as the best singing she had ever seen on stage and I would have to agree.
Only issues I had was the lack of focus from Chris Peluso's Sir Percival Glyde. It felt more like he was charming himself rather than his targets: his aggressive outbursts seemed out of place and forced as a result. Castilligios's (Fosco) italian accent inexplicably slipped from time to time but the intent of his two big numbers complimented the story so much better and his 'Get Away With Anything' was a genuine showstopper (no mice in sight).
The trio of ladies were completely in sync and the relationship between Laura and Marion was convincing and moving.
I was disappointed by O'Byrne's Christine Daae in Love Never Dies. As Laura, however, she is just outstanding.
See it before it's gone.
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Post by anthony on Dec 11, 2017 3:28:15 GMT
Saw Woman in White matinee yesterday and was blown away. Focussing the action back on the actors rather than the gimmicks of projection and fat suits was absolutely the right move. My friend described it as the best singing she had ever seen on stage and I would have to agree. Only issues I had was the lack of focus from Chris Peluso's Sir Percival Glyde. It felt more like he was charming himself rather than his targets: his aggressive outbursts seemed out of place and forced as a result. Castilligios's (Fosco) italian accent inexplicably slipped from time to time but the intent of his two big numbers complimented the story so much better and his 'Get Away With Anything' was a genuine showstopper (no mice in sight). The trio of ladies were completely in sync and the relationship between Laura and Marion was convincing and moving. I was disappointed by O'Byrne's Christine Daae in Love Never Dies. As Laura, however, she is just outstanding. See it before it's gone. Given that Greg was born in Italy and was brought up in Milan, I'm not sure that it was an accent?  |
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Post by musicalmarge on Dec 11, 2017 11:02:17 GMT
Saw Woman in White matinee yesterday and was blown away. Focussing the action back on the actors rather than the gimmicks of projection and fat suits was absolutely the right move. My friend described it as the best singing she had ever seen on stage and I would have to agree. Only issues I had was the lack of focus from Chris Peluso's Sir Percival Glyde. It felt more like he was charming himself rather than his targets: his aggressive outbursts seemed out of place and forced as a result. Castilligios's (Fosco) italian accent inexplicably slipped from time to time but the intent of his two big numbers complimented the story so much better and his 'Get Away With Anything' was a genuine showstopper (no mice in sight). The trio of ladies were completely in sync and the relationship between Laura and Marion was convincing and moving. I was disappointed by O'Byrne's Christine Daae in Love Never Dies. As Laura, however, she is just outstanding. See it before it's gone. Given that Greg was born in Italy and was brought up in Milan, I'm not sure that it was an accent? Hehehehe..... I was about to say the same thing. Greg IS Italian! His accent is real! I thought he was sensational. I’m going to return. |
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Post by phantz on Dec 11, 2017 15:25:51 GMT
Castilligios's (Fosco) italian accent inexplicably slipped from time to time ..... Given that Greg was born in Italy and was brought up in Milan, I'm not sure that it was an accent? That's what I found bizarre! Almost like he was directed that way.....but that didn't make sense to me. It was mainly in the early exchanges - he warms up and runs with it later on. |
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Post by Montmartre on Dec 11, 2017 16:17:10 GMT
What is the running time of this show, including interval please?
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Post by tom on Dec 11, 2017 16:21:26 GMT
What is the running time of this show, including interval please? Think it finished around 9:50 the eve I went |
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Post by westendcub on Dec 11, 2017 17:41:01 GMT
I shall be attending tonight, I don’t know much about this ALW show other than ‘I Believe My Heart’ when it was an Duncan James from ‘Blue’ single!!
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Post by daniel on Dec 11, 2017 18:13:38 GMT
I'm also in tonight, and know absolutely nothing about the show! Very much looking forward to it.
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Post by chernjam on Dec 11, 2017 19:09:48 GMT
Anyone heard if there's plans on a cast recording?
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Post by westendcub on Dec 11, 2017 22:36:04 GMT
Another great production at ‘Charing Cross’ I loved how fresh I came into this piece with only ‘I Believe My Heart’ and what a lovely very Andrew Lloyd Webber score I have missed out on, some wonderful lyrics & melodies woven throughout.
I would say it’s my least favourite set they have done since Thom took over, nothing too wrong with it and fits the piece but others have just been more creative in the space.
The cast are good with some stunning vocals.
I’m so glad we get a chance to see shows revived on the off-west scene & fringe (anyone know what musical is next for Charing Cross??)
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Post by westendcub on Dec 11, 2017 22:37:37 GMT
I'm also in tonight, and know absolutely nothing about the show! Very much looking forward to it. Really enjoyed it, what did you think? I rather like Chris beard even though he was villainous with it!! |
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Post by jay78uk on Dec 11, 2017 22:51:50 GMT
I'm also in tonight, and know absolutely nothing about the show! Very much looking forward to it. Really enjoyed it, what did you think? I rather like Chris beard even though he was villainous with it!! Was in tonight too. Saw the original production three times- rather liked the score and victoriana! Accepting this is a fringe production, i rather enjoyed this. It zipped along, the narrative was much clearer than the original production, and great vocals throughout other than an off rendition of ‘all for laura’. Think a frog in throat as otherwise the actress playing part was vocally perfect. Count fosco had great comic timing- didnt miss the mice at all- and glyde was believable and menacing. Dont sit in front ten rows if you dont like smoke- half audience close to choking during finale, which was unintentionally hilarious. Whilst i love the score, most of the problems with the original score remain e.g. uneven pace, some v poor characterisation and moments of brilliance and sentiment followed by cartoonish crassness. Still love it though! 18 quid rush tickets from tix great value and nice to get pints at bar. But could have done without flooded gents, smelly bar and... ironically a mouse scurrying around. Maybe to be expected given theatre underground. |
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