|
|
Post by Deleted on Nov 28, 2018 17:28:22 GMT
All of the five main cast members are American aren't they? It would be surprising if they didn't transfer with it.
|
|
|
|
Post by partytentdown on Nov 28, 2018 20:44:06 GMT
Reeve Carney is back on tonight
|
|
|
|
Post by Deleted on Nov 28, 2018 20:46:19 GMT
All of the five main cast members are American aren't they? It would be surprising if they didn't transfer with it. Page and Gray (Hades & Persephone) have been with the show since 2016 so I would expect at least them to stay with it, for now. |
|
|
|
Post by Boob on Nov 28, 2018 21:19:12 GMT
Is “snoozinginthestalls” taken as a username? If so, I’m changing it to “leftattheinterval”.
|
|
|
|
Post by partytentdown on Nov 28, 2018 22:19:58 GMT
Well I like it
|
|
548 posts
|
Post by drmaplewood on Nov 28, 2018 23:34:49 GMT
Was there tonight, eventful evening. Gentleman that was due to sit next to me fell down the stairs of the circle before the show and hurt himself so he and his wife didn’t stay, hope he’s OK.
Then there was the school / youth group sat by me who talked, kicked chairs, put feet on chairs, checked their phones, ate and were generally abnoxious for the whole first act. Their teacher could see what they were doing and did nothing, and acted surprised when she got a stern telling off from an usher at the interval. Gaaah.
Anyway there was plenty of empty seats so I moved to the stalls and the show, well it’s a good production of a fairly bland musical IMO. Not enough highs musically and found the two lead characters fairly tedious even though the performances were good. My enjoyment may have been hindered by the above of course, but don’t think I’ll go back to find out.
|
|
|
|
Post by partytentdown on Nov 29, 2018 0:00:41 GMT
Was there tonight, eventful evening. Gentleman that was due to sit next to me fell down the stairs of the circle before the show and hurt himself so he and his wife didn’t stay, hope he’s OK. Then there was the school / youth group sat by me who talked, kicked chairs, put feet on chairs, checked their phones, ate and were generally abnoxious for the whole first act. Their teacher could see what they were doing and did nothing, and acted surprised when she got a stern telling off from an usher at the interval. Gaaah. Anyway there was plenty of empty seats so I moved to the stalls and the show, well it’s a good production of a fairly bland musical IMO. Not enough highs musically and found the two lead characters fairly tedious even though the performances were good. My enjoyment may have been hindered by the above of course, but don’t think I’ll go back to find out. Crikey, I missed all this! From my seat at the back of the circle I could see one lady down in the Stalls, sixth row from the stage, who kept turning on her phone screen. I assume someone in the sound/light box kept noticing because a valiant usher would repeatedly appear from the back just as the screen went off, so she was unable to pinpoint the culprit. I could feel hundreds of eyes willing her to work it out and eject the villain. There is a special place in Hadestown for you, lady. |
|
|
|
Post by Deleted on Dec 8, 2018 10:05:57 GMT
Anyone know why the performance schedule is so erratic in January? Or do they remove sold out performances from the website?
|
|
376 posts
|
Post by hitmewithurbethshot on Dec 8, 2018 10:20:00 GMT
They had about a week off in November as well, maybe something else going on at the theatre?
|
|
|
|
Post by Deleted on Dec 8, 2018 10:21:58 GMT
They had about a week off in November as well, maybe something else going on at the theatre? Could be. 2 weeks off from Tues 8th then back for 5 day til close - seems rather strange. |
|
385 posts
|
Post by Ade on Dec 8, 2018 10:28:34 GMT
They had about a week off in November as well, maybe something else going on at the theatre? Could be. 2 weeks off from Tues 8th then back for 5 day til close - seems rather strange. Antony and Cleopatra is playing on those dates |
|
|
|
Post by Deleted on Dec 8, 2018 10:36:33 GMT
Could be. 2 weeks off from Tues 8th then back for 5 day til close - seems rather strange. Antony and Cleopatra is playing on those dates Thanks! Should have looked deeper in the 'Whats on'..! |
|
438 posts
|
Post by Rukaya on Dec 8, 2018 11:49:56 GMT
Antony and Cleopatra is playing on those dates Thanks! Should have looked deeper in the 'Whats on'..! I wondered the same the other day and also didn't look further! What funny scheduling though. |
|
|
|
Post by Deleted on Dec 8, 2018 12:20:11 GMT
It's pretty standard National Theatre scheduling, it's only the Dorfman that plays one show consistently start to finish without sharing the space with another production.
|
|
4,156 posts
|
Post by kathryn on Dec 12, 2018 23:37:01 GMT
Really enjoyed this tonight. Very full and appreciative audience made for a lovely atmosphere, strong performances, excellent staging and I enjoyed the musical choices for the different characters a lot. Might have to actually buy a cast recording!
Edit: ok, I have just read back a few pages of this thread and am utterly baffled by the people declaring it ‘not a musical’. Of course it’s a musical - the story is told almost entirely through music! The characterisation is in the music, the plot is in the music, the themes of the entire piece are wrapped up in the music. It’s far more a musical than those shows that have 3 talky scenes and then stop the plot dead for a song and dance number....
|
|
904 posts
|
Post by lonlad on Dec 13, 2018 8:26:50 GMT
It's a musical alright, no doubt about that. What it isn't is very good. It would help if it were about something but alas the whole thing is utterly pro forma and generic and the ending is the most ridiculous cop-out imaginable, with De Shields's character abdicating all need for the narrative to add up in any substantial way - which it doesn't.
Eva is good though. So there is that.
|
|
3,057 posts
|
Post by ali973 on Dec 15, 2018 13:48:40 GMT
I've been in love with the NYTW cast recording for over a year now, so I was absolutely ecstatic to find out that we will get the opportunity to see it in London as a pre-Broadway run.
The score is perhaps the best music written for the theatre in the last three years, at least since Hamilton. It's original, emotive, and the vocal arrangements are absolutely breathtaking.
Hadestown will struggle as a commercial musical, especially against its competitors on Broadway. It is intellectual, ambitious and magical at times, but mainly flawed throughout throughout the first act, has an underwritten lead character played by a very weak performer (more later), and only reaches its emotional peak at the very end. Competing against other commercial projects, it takes it a very long period to deliver. That might be a problem with Broadway audiences who want and need instant stimulation from the moment a show starts.
Hades town needs to focus in its staging and its main character. We’re told at the very beginning that this is a tale about Orpheus and Eurydice, when in fact it is about Orpheus. By the end, he comes to represent human nature’s doubt and unintentional neglect and selfishness. And although we seem to identify these flaws, we keep on making them over and over again.
The opening number does a great job introducing the characters, but not exactly what they want. Early on, it’s very clear what Eurydice wants and what her motivations are. Persephone wants to have fun, and Hades wants power. But what is Orpehsus’? Does he just want to sit around and make music? How are we supposed to care and root for a character who is so lazy? This oversight is combined with Reeve Carney completely unable to make us see beyond these flaws. Easily the weakest member of the entire ensemble, he’s uninteresting, unattractive and quite untalented. He’s lost, and it becomes very obvious when things get heated in Act II by the time he reaches Hadestown. He has no place against Eva’s smooth vocals, Andre DeShield’s magical charisma, Amber Grey delivering a modern day Eartha Kitt and Patrick Page’s as a silver fox dictator.
There are also key moments with sung plot points in Act I that involve multiple characters (in different dimensions; above ground and underground) that are over-staged and busy. There was one particular scene (Wind Theme?) that was completely confusing and unclear. Some parts of the unit set are never put to good use (phone booth, jukebox), and so is the ensemble. But in other times, they are asked to do too much when it’s unncessary (again, Wind Theme).
There are several Chavkinisms: beautiful staging using classic theatre craftsmanship (Wait for Me), and a small but racially and physically diverse cast. For now with very little time before Broadway, I think it’s time for her to stop worrying too much about the concept and form and focus on the substance. As a suggestion, I’d follow Eurydice from “Going, I’m Gone” straight to Hadestown and into “Why We Build The Wall”. By that time, Orpheus would have noticed her absence, and I think the character should get a moment to realize his loss before jumping into “Wait For Me”. By then, we would be ready to end Act I and want to come back after intermission of find out what will happen.
I still can’t wrap my head around Act II, because I think it’s probably much stronger than Act I and can be left alone. The last twenty minutes were extremely profound, and finally delivered the emotional connection I needed thorough the show.
But please. Replace Reeve Carney.
|
|
904 posts
|
Post by lonlad on Dec 15, 2018 15:15:22 GMT
Intellectual is the one thing it absolutely isn't -- not with lyrics that generic and pro forma. If the best Orpheus can manage by way of his self-identifying siren song is "la la la" then Eurydice is better off without her.
|
|
3,057 posts
|
Post by ali973 on Dec 15, 2018 15:19:09 GMT
I think it has a lot more message than other musicals that we see. And I don't agree that it's pro forma, which is why it's messy at times.It would be a lot more cohesive if it follows a standard MT structure.
|
|
185 posts
|
Post by MoreLife on Dec 17, 2018 10:26:09 GMT
I've been in love with the NYTW cast recording for over a year now, so I was absolutely ecstatic to find out that we will get the opportunity to see it in London as a pre-Broadway run. The score is perhaps the best music written for the theatre in the last three years, at least since Hamilton. It's original, emotive, and the vocal arrangements are absolutely breathtaking. Hadestown will struggle as a commercial musical, especially against its competitors on Broadway. It is intellectual, ambitious and magical at times, but mainly flawed throughout throughout the first act, has an underwritten lead character played by a very weak performer (more later), and only reaches its emotional peak at the very end. Competing against other commercial projects, it takes it a very long period to deliver. That might be a problem with Broadway audiences who want and need instant stimulation from the moment a show starts. Hades town needs to focus in its staging and its main character. We’re told at the very beginning that this is a tale about Orpheus and Eurydice, when in fact it is about Orpheus. By the end, he comes to represent human nature’s doubt and unintentional neglect and selfishness. And although we seem to identify these flaws, we keep on making them over and over again. The opening number does a great job introducing the characters, but not exactly what they want. Early on, it’s very clear what Eurydice wants and what her motivations are. Persephone wants to have fun, and Hades wants power. But what is Orpehsus’? Does he just want to sit around and make music? How are we supposed to care and root for a character who is so lazy? This oversight is combined with Reeve Carney completely unable to make us see beyond these flaws. Easily the weakest member of the entire ensemble, he’s uninteresting, unattractive and quite untalented. He’s lost, and it becomes very obvious when things get heated in Act II by the time he reaches Hadestown. He has no place against Eva’s smooth vocals, Andre DeShield’s magical charisma, Amber Grey delivering a modern day Eartha Kitt and Patrick Page’s as a silver fox dictator. There are also key moments with sung plot points in Act I that involve multiple characters (in different dimensions; above ground and underground) that are over-staged and busy. There was one particular scene (Wind Theme?) that was completely confusing and unclear. Some parts of the unit set are never put to good use (phone booth, jukebox), and so is the ensemble. But in other times, they are asked to do too much when it’s unncessary (again, Wind Theme). There are several Chavkinisms: beautiful staging using classic theatre craftsmanship (Wait for Me), and a small but racially and physically diverse cast. For now with very little time before Broadway, I think it’s time for her to stop worrying too much about the concept and form and focus on the substance. As a suggestion, I’d follow Eurydice from “Going, I’m Gone” straight to Hadestown and into “Why We Build The Wall”. By that time, Orpheus would have noticed her absence, and I think the character should get a moment to realize his loss before jumping into “Wait For Me”. By then, we would be ready to end Act I and want to come back after intermission of find out what will happen. I still can’t wrap my head around Act II, because I think it’s probably much stronger than Act I and can be left alone. The last twenty minutes were extremely profound, and finally delivered the emotional connection I needed thorough the show. But please. Replace Reeve Carney. That is a great and interesting review, Ali, thanks! I knew little about the history and development of the material prior to seeing the show last week, although of course I was familiar with the original myth (so I was never in doubt as to where the overall plot would be going). I thought the visual and audio impact of the production were amazing... maybe it helped that I sat super close to the stage, but I found myself captured and drawn in from the very start, and musically it felt like a cuddle on my ears. At the same time, I very much agree with you that it is at times too intellectual and almost smug because of how cleverly some themes are dealt with, and this may mean it will struggle on Broadway. I am afraid I also have to agree that Reeve Carney's performance felt like the weakest one on that stage... and of course it is tough when everybody else, down to practically every single ensemble member seems to be way more grounded and actively connecting with the material, the other characters and the audience. I was in awe of pretty much everybody else's work that evening! However, I can't help wondering if it all really boiled down to him not being brilliant enough or rather to his role being a bit thankless and underwritten... I mean, at some point the poor guy is relegated to a side of the stage for almost half an hour allegedly writing the song that will make the world a happy place again, but he ends up having this Roger-spending-a-whole-f-ing-year-to-write-Your-Eyes vibe about him. Yes, it's a nice little tune and perhaps if sung by someone with another set of pipes and with more charisma that la la la la la la would have a different impact, but to me it did feel less than spellbinding. And after that, he is meant to travel to the underworld, but as the audience we are not shown practically anything of that journey - which cannot have been a walk in the park. So perhaps they missed a couple opportunities to get the audience to root for him a bit more? |
|
218 posts
|
Post by Elle on Dec 22, 2018 18:10:08 GMT
First half I thought wonderful singing and acting by the leads but I was not keen on the staging and story. The second half I enjoyed much more at the NT cafe and Somerset House.😁
|
|
460 posts
|
Post by pianowithsam on Dec 22, 2018 23:20:25 GMT
First half I thought wonderful singing and acting by the leads but I was not keen on the staging and story. The second half I enjoyed much more at the NT cafe and Somerset House.😁 You left at the interval? |
|
218 posts
|
Post by Elle on Dec 22, 2018 23:35:15 GMT
Yes, I did. Time in London is precious for me as a tourist. So if I don't enjoy a show I go do something else.
|
|
153 posts
|
Post by liverpool54321 on Dec 27, 2018 20:57:35 GMT
We caught the matinee today - full house. Booked fairly late for this on the back of some of the positive reviews on this site. Originally I was worried the storyline may be too complex for me to enjoy, but after reading synopsis found it really easy to follow.
For me it was my kind of music and stage setting. I also like a lot of the light settings deployed (but that’s the technical side of me). We really enjoyed all the cast and felt everyone well cast. When you stick a man and a guitar on stage you tend to limit what type of singer works best. I much preferred the approach adopted to having someone who has a sweet voice but doesn’t seem to fit the role of a singer songwriter.
|
|
2,705 posts
Member is Online
|
Post by viserys on Dec 28, 2018 7:19:07 GMT
Count me in the camp who loved this. In an insipid Broadway year with biography jukebox musicals and movies uninspiredly slapped onto the stage, Hadestown should and will be cleaning up the Tony Awards.
The folk/jazz music by Anais Mitchell is probably not to everyone's taste, nor is Rachel Chavkin's direction, which repeats her "Comet" theme in turning a well-known classic completely upside down with amazing creativity. But while the music roots this in the depression-era USA, I felt like it was one of those universal stories that could take place anytime anywhere. And while I KNEW the Orpheus legend, while I KNEW what would happen, the last minutes were still incredibly tense, hoping against hope there would be another outcome and I loved how clearly the point was made, how often we, as humans, are our own worst enemies, doubting and worrying instead of having faith (not least in oneself).
The cast was pretty much terrific, too. I don't get the complaints about Reeve Carney being bland - if anything Orpheus should be bland, as the everyday human caught up with the Gods (who by dint of being Gods have a far more forceful personality). I just think that after all this fuss how Orpheus is the greatest singer on Earth and working on a song forever, when that song does come in Act Two, it needs to be much better than it is now, we need to believe in the song being so fantastic, it melts Hades' heart.
I got to try the National Theatre's smart caption glasses for the first time and while they were a bit heavy, they were overall terrific. Much better than regular captioning where your eyes keep darting between the captions on the side of the stage and the performers on stage. Such a wonderful service!
|
|
