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Post by Phantom of London on Mar 30, 2018 11:30:07 GMT
I also saw the Deaf West production, which I agree was unique.
Speaking from a person who hates gunshots, like to add that a gun is visible, but there are no sudden bangs from the device or the sounddesk.
I was blown away by the production values, at the given size of the venue, the production values are as good in terms of lighting, sound and scenery as the Menier Chocolate Factory. When I first walked into the venue, I thought this must be a theatre first, a venue with fresh doors and windows, must be interesting for a matinee, I didn’t know this was all part of the set.
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Post by michalnowicki on Mar 30, 2018 11:35:43 GMT
you cannot just walk up to people and say “are you Burly bear” That's why I've been getting the weird looks... |
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Post by Deleted on Mar 30, 2018 18:12:21 GMT
Really annoying when they carry on posting on social networks but ignore questions incoming.
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Post by BurlyBeaR on Mar 30, 2018 19:36:32 GMT
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Post by BurlyBeaR on Mar 31, 2018 16:13:22 GMT
Ok so after damning it with faint praise (the material, not the production) I can’t stop thinking about this show and I think I’m going to have to go back. I’ve been scouring YouTube for Song Of Purple Summer in particular and cannot find a version better than I saw performed in Manchester the other night, and that includes Broadway with Lea Michele.
I was just listening to an interview with Joe Houston one of the owners of HM and the story of how they started the theatre is pretty inspiring. No bank loan, just £10,000 in savings and loads of favours got them up and running. And after visiting for the last couple of years their evolution is really apparent. From the way the bar area has developed to the tiered seating arriving. It’s better every time you go and evidence of how they’re investing everything they make back into the business. Two more musicals yet to be announced this year after Aspects.
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Post by onceuponadecember on Apr 2, 2018 14:00:56 GMT
Do you think this production will ever transfer to London? I want to see it so bad but I live too far away  |
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Post by Deleted on Apr 2, 2018 14:08:41 GMT
Do you think this production will ever transfer to London? I want to see it so bad but I live too far away Yet to see it, but given sales an interest in it on this I'd expect so. |
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Post by BurlyBeaR on Apr 2, 2018 22:23:05 GMT
Do you think this production will ever transfer to London? I want to see it so bad but I live too far away I think it’s probabky the highest production values I’ve seen of all the HM musicals. Depends on the press I suppose but I wouldn’t be surprised. It would suit the SWP. |
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Post by Phantom of London on Apr 2, 2018 22:43:09 GMT
Do you think this production will ever transfer to London? I want to see it so bad but I live too far away I think it’s probabky the highest production values I’ve seen of all the HM musicals. Depends on the press I suppose but I wouldn’t be surprised. It would suit the SWP. It will transfer, but not to the West End, due to the original getting excellent reviews and flopping. I agree with Mr B on it could transfer to the SWP or even the Arts Theatre, but it will come down as it has the powerful Katy Lipson behind it, or is the Sonia Friedman of the fringe scene. Glad Mr B agrees with me on the production values. Also doesn’t it make sense that SWP and and HM should work together on their artistic programme, with musicals being exchanged, for instance The Rink going to Manchester after London, as you have shelled out for all the sets, lighting, costumes and rehearsals, so costs in Manchester would be wages, accomadation and marketing, it keeps actors in work for a month extra, with minimal costs, also keeps an active production in the venue, when it maybe it maybe dark. Same as HM shows coming to London to the SWP - makes great business management sense. Shows at SWP that come down via HM, still can transfer to the West End if good enough. |
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Post by firefingers on Apr 2, 2018 22:44:35 GMT
More depends on who has the rights for London. I suspect someone does otherwise I feel a fringe revival would have happened by now.
Seeing it next week, with a friend who adored the original London production. Hopefully this can live up to it.
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Post by BurlyBeaR on Apr 2, 2018 22:53:55 GMT
Also doesn’t it make sense that SWP and and HM should work together on their artistic programme, with musicals being exchanged, for instance The Rink going to Manchester after London, as you have shelled out for all the sets, lighting, costumes and rehearsals, so costs in Manchester would be wages, accomadation and marketing, it keeps actors in work for a month extra, with minimal costs, also keeps an active production in the venue, when it maybe it maybe dark. Same as HM shows coming to London to the SWP - makes great business management sense. Shows at SWP that come down via HM, still can transfer to the West End if good enough. This makes total sense in theory, not sure what the practical issues would be. While we were waiting for the show to start the other night my friend commented that that HM would be a perfect space for Xanadu. It would go down an absolute bomb in Manchester too. |
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Post by firefingers on Apr 2, 2018 22:55:03 GMT
Also doesn’t it make sense that SWP and and HM should work together on their artistic programme, with musicals being exchanged, for instance The Rink going to Manchester after London, as you have shelled out for all the sets, lighting, costumes and rehearsals, so costs in Manchester would be wages, accomadation and marketing, it keeps actors in work for a month extra, with minimal costs, also keeps an active production in the venue, when it maybe it maybe dark. Oh if only were that simple. There would be some savings but not much. A fringe set is built cheaply so that taking it down without destroying it is nearly impossible, and paying the extra to build a set that would last more than the 6 weeks and moving is rarely something a producer wants to shell out. And that ignores that elements such as scaffolding will be hired rather than bought.same goes for sound, lighting, video, and to a lesser extent costume and props, all hired or containing elements that are hired. As an example, a musical I did at Southwark cost over 1000 pounds just in sound equipment hire. To avoid rehearsal cost you'd need to have the audiotrium be the same size, and for the whole cast to be able to do the extra run, otherwise new company members would need to be rehearsed in. It's a very expensive business doing fringe theatre, particularly musicals. |
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Post by stevej678 on Apr 2, 2018 23:06:10 GMT
One audience member was so overcome with the emotion of it all at the finale tonight, she leapt onto the stage during the bows to embrace Nikita Johal who plays Wendla!
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Post by Phantom of London on Apr 2, 2018 23:23:34 GMT
Also doesn’t it make sense that SWP and and HM should work together on their artistic programme, with musicals being exchanged, for instance The Rink going to Manchester after London, as you have shelled out for all the sets, lighting, costumes and rehearsals, so costs in Manchester would be wages, accomadation and marketing, it keeps actors in work for a month extra, with minimal costs, also keeps an active production in the venue, when it maybe it maybe dark. Oh if only were that simple. There would be some savings but not much. A fringe set is built cheaply so that taking it down without destroying it is nearly impossible, and paying the extra to build a set that would last more than the 6 weeks and moving is rarely something a producer wants to shell out. And that ignores that elements such as scaffolding will be hired rather than bought.same goes for sound, lighting, video, and to a lesser extent costume and props, all hired or containing elements that are hired. As an example, a musical I did at Southwark cost over 1000 pounds just in sound equipment hire. To avoid rehearsal cost you'd need to have the audiotrium be the same size, and for the whole cast to be able to do the extra run, otherwise new company members would need to be rehearsed in. It's a very expensive business doing fringe theatre, particularly musicals. Okay they just done Manchester and London with Pippin and Hair if you were planning to do both venues, you plan set, sound, lighting, contracts and rehearsal accordingly. I know margins would be tight, for no other reason that so little money is made on the fringe.i What you say for such venue holds about 150 people with an average ticket cost of £15 so you do that 8 times a week and that would give you £18k* a week, sounds a lot, but in reality it isn’t. *All educated guess, so a guesstimate. |
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Post by Phantom of London on Apr 2, 2018 23:27:34 GMT
Also doesn’t it make sense that SWP and and HM should work together on their artistic programme, with musicals being exchanged, for instance The Rink going to Manchester after London, as you have shelled out for all the sets, lighting, costumes and rehearsals, so costs in Manchester would be wages, accomadation and marketing, it keeps actors in work for a month extra, with minimal costs, also keeps an active production in the venue, when it maybe it maybe dark. Same as HM shows coming to London to the SWP - makes great business management sense. Shows at SWP that come down via HM, still can transfer to the West End if good enough. This makes total sense in theory, not sure what the practical issues would be. While we were waiting for the show to start the other night my friend commented that that HM would be a perfect space for Xanadu. It would go down an absolute bomb in Manchester too. I certainly agree with Xanadu. Would also think other SWP shows could work at HM like In The Heights, Bat Boy, Carrie, Working and Titanic. |
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Post by stevej678 on Apr 3, 2018 9:35:37 GMT
I think Hope Mill Theatre have surpassed all of their previous work with this one.
What a cast they've assembled for a start. Soaring vocals and performances brimming with passion one moment and invested with great subtlety the next. The central trio of Darragh Cowley as Melchior, Nikita Johal as Wendla and Jabez Sykes as Moritz are outstanding, while Sophia Simoes Da Silva as Anna can riff as well as any Elphaba.
From a badass reprise for Mama Who Bore Me, through gorgeous melodies such as The Guilty Ones and Whispering, to the anarchic Totally F***ed, this is probably my favourite musical score and one that the Hope Mill cast did more than full justice. The finale of Song of Purple Summer in particular, led by Teleri Hughes as Ilsa, was spine-tingingly powerful and sincere. I agree with BurlyBear that if there's a better, more beautiful and life-affirming rendition of this song out there then I'm yet to hear it. It's remarkable that the cast are so assured in what's only the fourth preview of a show that for a number of them represents their professional debuts.
I think this is one of those nights at the theatre that stays with you for a long time afterwards. The production values are terrific and the set in particular is a huge improvement on the rather basic offering for Little Women. It's such a welcoming venue too. One of the owners was watching the show last night and as he looked at the audience on their feet at the finale roaring their approval, with several moved to tears, I hope he felt very proud of what the Hope Mill is achieving.
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Post by theinvisiblegirl on Apr 3, 2018 10:46:17 GMT
One audience member was so overcome with the emotion of it all at the finale tonight, she leapt onto the stage during the bows to embrace Nikita Johal who plays Wendla! I saw this and thought it must have been a friend or family member not a random audience member! |
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Post by Deleted on Apr 3, 2018 11:13:10 GMT
This makes total sense in theory, not sure what the practical issues would be. While we were waiting for the show to start the other night my friend commented that that HM would be a perfect space for Xanadu. It would go down an absolute bomb in Manchester too. I certainly agree with Xanadu. Would also think other SWP shows could work at HM like In The Heights, Bat Boy, Carrie, Working and Titanic. The big difference is that Hope Mill produce a lot of their shows in-house (with Aria Entertainment) - Southwark seldom produce their own shows; Carrie, Working & Titanic are three different independent producers who hire out Southwark to House their productions. |
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Post by Dr Tom on Apr 3, 2018 15:02:45 GMT
I saw this last night too and would be shocked if it didn’t transfer (to a similar fringe venue in London).
First, logistics. I got there about 6:55 and got one of the last first group entry tickets. Plenty of seat choice in that group and I got a good front row seat. It was said to be sold out and little choice left for the people in later groups.
There were a few empty reserved seats in the second row (one of the worst places to sit as it isn’t raised). Sounded like that was the friends and family area.
A very good production with a running time just over two hours with most of the cast fresh out of drama school. It’s not the easiest show to follow, but there’s a certain poetry to it. And very adult themed.
Some odd staging with a lot of the action taking place away from the audience. And the usual challenge with the band being rather loud. Strong vocals even where the songs aren’t that memorable.
One concern is that most of the show is darkly lit, but there are a few scenes with intense light that brought tears to my eyes (and I didn’t think I was light sensitive). Suggest sitting further back if that’s a problem.
Anyway, another good production. I won’t get to see it again in Manchester but certainly will if it transfers to London.
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Post by stevej678 on Apr 3, 2018 15:20:25 GMT
There were a few empty reserved seats in the second row (one of the worst places to sit as it isn’t raised). Sounded like that was the friends and family area. The second row seats were initially being held back in case there were any latecomers, then they whisked the reserved signs off when there were the only seats left. We must have been sat pretty close to each other - I was on the end of the front row of the main block, right by the entrance door. |
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Post by Dr Tom on Apr 3, 2018 16:45:42 GMT
There were a few empty reserved seats in the second row (one of the worst places to sit as it isn’t raised). Sounded like that was the friends and family area. The second row seats were initially being held back in case there were any latecomers, then they whisked the reserved signs off when there were the only seats left. We must have been sat pretty close to each other - I was on the end of the front row of the main block, right by the entrance door. Ah right, I’m sure we both overheard different bits of conversations! Fair enough the latecomers got bad seats, although the people behind me did sound like they knew someone in the cast. Yes, I was in the same row, pretty central, so would have been a few seats down. A great view, although because of how it’s staged I think the side seats would be a good view too. |
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Post by michalnowicki on Apr 4, 2018 9:49:02 GMT
Now I'm really tempted to go to Manchester to see this!
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Post by BurlyBeaR on Apr 4, 2018 9:59:21 GMT
⭐️⭐️⭐️⭐️⭐️ Wilma
⭐️⭐️⭐️⭐️ The Stage
⭐️⭐️⭐️⭐️ Reviews Hub
⭐️⭐️⭐️ WoS
⭐️⭐️⭐️ Guardian
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Post by Jonnyboy on Apr 4, 2018 18:32:07 GMT
Looking forward to this. I wholeheartedly support the Hope Mill but not terribly impressed with their latest email saying the show has had 4s and 5s across the board. False advertising doesn’t sit well with me.
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Post by david on Apr 7, 2018 18:26:54 GMT
Just come back from seeing this at today’s matinee. All I can say is WOW! Of all the shows I’ve seen at Hope Mill, this is the best one so far in my opinion. The cast are vocally stunning and the fact that the majority of them are recent or soon to be MT graduates is unbelievable. They all give really assured and at times heart breaking performances. There is absolutely no weak performances in any of the cast.
The standard of the set is a marked improvement in comparison to previous shows which had a simpler approach and the band where also great.
It’s great to see this theatre having so much support from the public and the shows the team produces are well received. The fact that they are getting runs in London is testament to this. Hopefully this is another one to add to the transfer list at the end of the current run.
If you haven’t already booked, do yourself a favour and come and see it and support a great theatre.
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