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Post by inthenose on Feb 28, 2021 23:19:25 GMT
I should also add, the Resident Director will usually always be present working with the actors in the room, giving them gentle suggestions and walking them through the blocking so they can see how the performer takes direction and might look in the role.
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Post by daisy24601 on Mar 1, 2021 17:47:19 GMT
Thanks, helpful!
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Post by westendboy on Jul 13, 2021 15:25:28 GMT
It's been two years since the original production closed at the Queen's (Sondheim).
I still pray that one day we'll see this legendary and iconic production make a return in some shape or form, even if it's just wishful thinking!
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Post by forevercolours on Aug 17, 2021 16:41:41 GMT
What are the box seats like? I have seen a few pictures and review on seat plan but I wanna hear some more opinions. Are they badly restricted or uncomfortable?
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Post by alison on Aug 17, 2021 22:24:21 GMT
What are the box seats like? I have seen a few pictures and review on seat plan but I wanna hear some more opinions. Are they badly restricted or uncomfortable? Do you mean the loge that sits just above the circle slips? I've sat there a few times for the concert - the ones closest to the dress circle are good, you only miss the ensemble on the near side of the stage, even without leaning. The ones closest to the stage are more restricted - without leaning I can only see half the stage, and even with leaning I can't see the ensemble on the near side at all. It's not so much of an issue for the concert since everything is sung from the front and it's just the ensemble sitting on the barricade areas at the sides for the most part, but likely to be more missed for the full show when it returns.
As far as comfort goes, they're individual moveable seats that I think are pretty comfortable, and being able to angle them towards the stage helps. I've only been in there with a maximum of three other people though (in a space with six seats) so might be less room for movement if all six are occupied.
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Post by sleepflower on Aug 20, 2021 10:41:26 GMT
Any cast announcements yet or have they already done it and I've missed it?!
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Post by inthenose on Aug 20, 2021 14:50:59 GMT
Any cast announcements yet or have they already done it and I've missed it?! Check out graduating alum from Arts Ed, Mountview and GSA 2020/2021 - that will be the majority of the ensemble cast, plus one or two supporting leads for the students. It's "policy". Oh, and they are casting Valjean "from all races and backgrounds", I am told. I was told this, in identical wording with a nudge and a wink long before I was told of Lucy's casting in Phantom, so I've got a good idea what to expect. The question is, who fits the bill? |
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Post by LaLuPone on Aug 20, 2021 15:06:24 GMT
Surely most of the concert cast that were in the show pre-Covid will stay on anyway? They haven’t had a year yet and barely 3 months in the full production.
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Post by inthenose on Aug 20, 2021 15:29:43 GMT
Surely most of the concert cast that were in the show pre-Covid will stay on anyway? They haven’t had a year yet and barely 3 months in the full production. Casting calls went out. Everyone is re-auditioning as I understand it, as per. |
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Post by danb on Aug 20, 2021 16:26:17 GMT
Any cast announcements yet or have they already done it and I've missed it?! Check out graduating alum from Arts Ed, Mountview and GSA 2020/2021 - that will be the majority of the ensemble cast, plus one or two supporting leads for the students. It's "policy". Oh, and they are casting Valjean "from all races and backgrounds", I am told. I was told this, in identical wording with a nudge and a wink long before I was told of Lucy's casting in Phantom, so I've got a good idea what to expect. The question is, who fits the bill? I have it on good authority that Derek Griffiths is the new JVJ! |
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Post by inthenose on Aug 20, 2021 17:05:11 GMT
Check out graduating alum from Arts Ed, Mountview and GSA 2020/2021 - that will be the majority of the ensemble cast, plus one or two supporting leads for the students. It's "policy". Oh, and they are casting Valjean "from all races and backgrounds", I am told. I was told this, in identical wording with a nudge and a wink long before I was told of Lucy's casting in Phantom, so I've got a good idea what to expect. The question is, who fits the bill? I have it on good authority that Derek Griffiths is the new JVJ! This I would pay to see. Can't they prise Whoopi back to town though? No ambition. |
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Post by Deleted on Aug 23, 2021 17:04:27 GMT
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Post by inthenose on Aug 23, 2021 17:54:50 GMT
Taking liberties again, I see. I'm sure they're all terrific performers, though.
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Post by Oleanna on Aug 23, 2021 18:58:30 GMT
Taking liberties again, I see. I'm sure they're all terrific performers, though. With what are they taking liberties? |
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Post by matilda1 on Aug 24, 2021 9:09:45 GMT
Some young castings, I agree. Same schools used again .
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Post by inthenose on Aug 25, 2021 13:11:13 GMT
Taking liberties again, I see. I'm sure they're all terrific performers, though. With what are they taking liberties? I meant nothing to do with race, if that was your question. That said, it might add to a newbie's confusion in following what is already a complex plot, with a black Fantine and a white Cosette. I remember my first time seeing it - I had a hard enough time following who everyone was! With the time skips and not knowing the plot, it would be that bit more confusing. But this is beside the point I was making, and wouldn't bother me at all as a long time fan of the show. I was referring to the casting policy I have referenced above and throughout this thread, where the new graduates from the same handful of drama schools are cast - year on year - in their professional debut(!) at the highest of high levels. Within theatre, they are debuting at the very top. There is nothing higher in theatre. Career wise, unless they break into TV and movies, they are performing at the highest level they likely ever will. No dues have been paid, no stagecraft learnt from playing to paying audiences. It's raw talent with none of the nuance. Les Mis used to be the pinnacle of musical theatre. Graduates would do rep, or work fringe, and experience real life before being handed a major supporting role in the West End, in the second most successful musical of all time. They would work in bars, struggle for roles, learn their craft and enter the show with years of stage and real world life experience behind them. There is no variety to it, not enough experienced heads and, crucially, very little care taken in pushing these kids into roles they just aren't ready for. |
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Post by Oleanna on Aug 25, 2021 14:31:25 GMT
With what are they taking liberties? I meant nothing to do with race, if that was your question. That said, it might add to a newbie's confusion in following what is already a complex plot, with a black Fantine and a white Cosette. I remember my first time seeing it - I had a hard enough time following who everyone was! With the time skips and not knowing the plot, it would be that bit more confusing. But this is beside the point I was making, and wouldn't bother me at all as a long time fan of the show. I was referring to the casting policy I have referenced above and throughout this thread, where the new graduates from the same handful of drama schools are cast - year on year - in their professional debut(!) at the highest of high levels. Within theatre, they are debuting at the very top. There is nothing higher in theatre. Career wise, unless they break into TV and movies, they are performing at the highest level they likely ever will. No dues have been paid, no stagecraft learnt from playing to paying audiences. It's raw talent with none of the nuance. Les Mis used to be the pinnacle of musical theatre. Graduates would do rep, or work fringe, and experience real life before being handed a major supporting role in the West End, in the second most successful musical of all time. They would work in bars, struggle for roles, learn their craft and enter the show with years of stage and real world life experience behind them. There is no variety to it, not enough experienced heads and, crucially, very little care taken in pushing these kids into roles they just aren't ready for. Thanks for clarifying. |
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Post by matilda1 on Aug 25, 2021 20:37:36 GMT
I meant nothing to do with race, if that was your question. That said, it might add to a newbie's confusion in following what is already a complex plot, with a black Fantine and a white Cosette. I remember my first time seeing it - I had a hard enough time following who everyone was! With the time skips and not knowing the plot, it would be that bit more confusing. But this is beside the point I was making, and wouldn't bother me at all as a long time fan of the show. I was referring to the casting policy I have referenced above and throughout this thread, where the new graduates from the same handful of drama schools are cast - year on year - in their professional debut(!) at the highest of high levels. Within theatre, they are debuting at the very top. There is nothing higher in theatre. Career wise, unless they break into TV and movies, they are performing at the highest level they likely ever will. No dues have been paid, no stagecraft learnt from playing to paying audiences. It's raw talent with none of the nuance. Les Mis used to be the pinnacle of musical theatre. Graduates would do rep, or work fringe, and experience real life before being handed a major supporting role in the West End, in the second most successful musical of all time. They would work in bars, struggle for roles, learn their craft and enter the show with years of stage and real world life experience behind them. There is no variety to it, not enough experienced heads and, crucially, very little care taken in pushing these kids into roles they just aren't ready for. Thanks for clarifying. |
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Post by matilda1 on Aug 25, 2021 20:44:25 GMT
Yes, I tend to agree with your point on the casting of young graduates straight out of a few select drama schools. This is not to say that they are without talent however. It has been said before, but they are cheap to employ. I have often wondered why grads from more traditional acting schools such as Bristol Old Vic, RADA, LAMDA very rarely appear in Les Mis. Many of them are excellent singers, and they can Act!! I have no connection to any of these schools btw. |
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Post by Deleted on Aug 25, 2021 21:31:48 GMT
With what are they taking liberties? I meant nothing to do with race, if that was your question. That said, it might add to a newbie's confusion in following what is already a complex plot, with a black Fantine and a white Cosette. I remember my first time seeing it - I had a hard enough time following who everyone was! With the time skips and not knowing the plot, it would be that bit more confusing. But this is beside the point I was making, and wouldn't bother me at all as a long time fan of the show. I was referring to the casting policy I have referenced above and throughout this thread, where the new graduates from the same handful of drama schools are cast - year on year - in their professional debut(!) at the highest of high levels. Within theatre, they are debuting at the very top. There is nothing higher in theatre. Career wise, unless they break into TV and movies, they are performing at the highest level they likely ever will. No dues have been paid, no stagecraft learnt from playing to paying audiences. It's raw talent with none of the nuance. Les Mis used to be the pinnacle of musical theatre. Graduates would do rep, or work fringe, and experience real life before being handed a major supporting role in the West End, in the second most successful musical of all time. They would work in bars, struggle for roles, learn their craft and enter the show with years of stage and real world life experience behind them. There is no variety to it, not enough experienced heads and, crucially, very little care taken in pushing these kids into roles they just aren't ready for. This is absolutely spot on about performers, could not have said it better myself. Personally, I think if any show has a younger and older of the same character, the performers need to be of same race. It just doesn't make logical sense. I can suspend my disbelief for a lot of things, but not the ability of a human to change race. Just cast people of the same race, surely it's not that difficult. |
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Post by nvinspace on Aug 30, 2021 4:30:41 GMT
Does anyone know why tickets aren't on sale the two weeks around Christmas?
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Post by sophie92 on Aug 30, 2021 7:24:37 GMT
Does anyone know why tickets aren't on sale the two weeks around Christmas? I don’t know for definite, but I would assume they haven’t finalised their Christmas schedule yet. |
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Post by danb on Aug 30, 2021 7:30:36 GMT
I meant nothing to do with race, if that was your question. That said, it might add to a newbie's confusion in following what is already a complex plot, with a black Fantine and a white Cosette. I remember my first time seeing it - I had a hard enough time following who everyone was! With the time skips and not knowing the plot, it would be that bit more confusing. But this is beside the point I was making, and wouldn't bother me at all as a long time fan of the show. I was referring to the casting policy I have referenced above and throughout this thread, where the new graduates from the same handful of drama schools are cast - year on year - in their professional debut(!) at the highest of high levels. Within theatre, they are debuting at the very top. There is nothing higher in theatre. Career wise, unless they break into TV and movies, they are performing at the highest level they likely ever will. No dues have been paid, no stagecraft learnt from playing to paying audiences. It's raw talent with none of the nuance. Les Mis used to be the pinnacle of musical theatre. Graduates would do rep, or work fringe, and experience real life before being handed a major supporting role in the West End, in the second most successful musical of all time. They would work in bars, struggle for roles, learn their craft and enter the show with years of stage and real world life experience behind them. There is no variety to it, not enough experienced heads and, crucially, very little care taken in pushing these kids into roles they just aren't ready for. This is absolutely spot on about performers, could not have said it better myself. Personally, I think if any show has a younger and older of the same character, the performers need to be of same race. It just doesn't make logical sense. I can suspend my disbelief for a lot of things, but not the ability of a human to change race. Just cast people of the same race, surely it's not that difficult. But if you can suspend disbelief enough to accept that three hours of sung through coincidences & mistaken identities is real, why is an actors fluid race such a jarring experience? |
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Post by inthenose on Aug 30, 2021 7:33:49 GMT
This is absolutely spot on about performers, could not have said it better myself. Personally, I think if any show has a younger and older of the same character, the performers need to be of same race. It just doesn't make logical sense. I can suspend my disbelief for a lot of things, but not the ability of a human to change race. Just cast people of the same race, surely it's not that difficult. But if you can suspend disbelief enough to accept that three hours of sung through coincidences & mistaken identities is real, why is an actors fluid race such a jarring experience? "Fluid race"? Is this a thing now, being "race fluid"? Blimey, I am out of touch! |
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Post by Someone in a tree on Aug 30, 2021 7:38:47 GMT
Personally, I think if any show has a younger and older of the same character, the performers need to be of same race. It just doesn't make logical sense. I can suspend my disbelief for a lot of things, but not the ability of a human to change race. Just cast people of the same race, surely it's not that difficult. [/quote]
Really? Is this to do with suspended disbelief or something else?
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