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Post by Deleted on Feb 7, 2019 17:51:32 GMT
They've finally released a trailer.
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Post by apubleed on Feb 20, 2019 14:04:41 GMT
Finally saw this recently...the show isn't as polished as the composer's later works (e.g., Fun Home & Caroline, or Change) - and has a rather slow and boring start. The sound in this theatre is a bit odd, and the layout is weird. However, what a great lead character and performance - and those last 30-40 minutes from the TV gospel rehearsal right up until curtain call were BRILLIANT. The 'break down' where she starts to desperately pray for her own healing was both sad and hilarious (Quiet..You've had your chance...you can talk now), and "Look At Me" is a as devastating as any emotional 11 O'Clock number. Would recommend.
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3,325 posts
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Post by Dr Tom on Feb 21, 2019 8:45:54 GMT
My experience from last night, this is a rather slow and samey show, which builds into a more engaging last thirty minutes.
Row B seats are great. Lots of legroom. I also had the benefit of no one in front (the theatre was around half full).
I was struggling a bit to concentrate at the start. It is rather melodic music and you can easily drift into a trance. It is also incredibly simple staging. There's no interval, so the advertised running time of 1 hour and 40 minutes doesn't help (and it was actually a few minutes longer).
Don't know what being in the round added to this (other than meaning the action faced away from you a lot of the time), but I presume they got more seats in as a result.
Can't imagine that I'd ever want to see this again, but maybe a more staged performance would add something.
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1,103 posts
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Post by mallardo on Feb 21, 2019 17:03:27 GMT
I'd see it again in a heartbeat. It's a beautiful show and, for me, the simple staging allowed it to cast its spell. Jeannine Tesori's score is masterful, earthy and lyrical at the same time and totally in sync with the story it's telling. I hear something of Adam Guettel's Floyd Collins in it - I wonder if she and Guettel are friends? Kaisa Hammerlund is giving the most powerful MT performance in town right now - I hope she gets some recognition for it.
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Post by Deleted on Mar 10, 2019 8:01:23 GMT
Thought this was pretty good. They seem to have mostly sorted out the sound mix although the volume did get a bit overpowering towards the end. Liked the in-the-round staging although sightlines weren't great (I was in row F of the stage stalls seats)
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106 posts
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Post by highonahill on Mar 26, 2019 8:09:49 GMT
Well I was thoroughly impressed with 'Violet' at Charing Cross Theatre last night. It was a was a beautiful tale of acceptance and self belief with a cracking score from Jeanine Tesori - country vibes reflecting where it's set and with a good dose of gospel to lift your soul. The energy of the cast and especially Kaisa Hammarlund as Violet just leaps off the stage, set up for this season at Charing Cross Theatre in traverse with a revolve. This makes the space very intimate for this production.
If I was being picky, then there were times it felt like a proscenium arch production that was simply 'revolved', not much staging that played to both sides on purpose, if that makes sense....
Loads of legroom in row b, more so than it seems other rows elsewhere. In this layout (traverse) it's the first raised row; row a in front is level with the current stage. Heads in front blocked actors momentarily if they were sitting down, but it was easy to look around them.
It was a Monday night, but still such a shame there were only 44 in the audience! Would thoroughly recommend seeing this before it closes in 2 weeks. There are plenty of deals about, including this one from the theatre:
"If you book in the next 48 hours, you can get two best tickets for only £48! Simply follow the booking link below, or call the Box Office on 08444 930 650 and quote VIOLET48END to claim this discount on any performance. This discount expires at 23:59 on Wednesday 27th March, so don't miss out!".
Have woken up with an earworm; the excellently harmonised stop chorus in On My Way!
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Post by vabbian on Mar 27, 2019 16:49:10 GMT
Mmm, well, it's uninteresting and mediocre
Left the theatre 20 minutes ago and I've already forgotten the show.
The women in this are fantastic though
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Post by SamB (was badoerfan) on Mar 27, 2019 21:28:18 GMT
"If you book in the next 48 hours, you can get two best tickets for only £48! Simply follow the booking link below, or call the Box Office on 08444 930 650 and quote VIOLET48END to claim this discount on any performance. This discount expires at 23:59 on Wednesday 27th March, so don't miss out!". Thank you for this. Booked for Friday night. |
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106 posts
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Post by highonahill on Mar 29, 2019 13:38:31 GMT
"If you book in the next 48 hours, you can get two best tickets for only £48! Simply follow the booking link below, or call the Box Office on 08444 930 650 and quote VIOLET48END to claim this discount on any performance. This discount expires at 23:59 on Wednesday 27th March, so don't miss out!". Thank you for this. Booked for Friday night. You're welcome - enjoy! Be interested to hear your thoughts... |
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Post by SamB (was badoerfan) on Mar 29, 2019 23:26:52 GMT
Well, I liked it but didn't love it. I really enjoyed a lot of the things it was doing, but it never really touched me emotionally. Kaisa Hammarlund is fantastic though.
Glad I went, worth a watch, but I wouldn't rush back.
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637 posts
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Post by AddisonMizner on Apr 6, 2019 18:14:39 GMT
I’ve finally seen this show in its penultimate performance this afternoon. This is one show I have wanted to see for a while, after seeing CAROLINE, OR CHANGE and FUN HOME last year. It is certainly nice to see another show so utterly different to the norm with this story.
Whilst this show is not as complex as the latter mentioned shows (the characters are not as well drawn, except perhaps for Violet herself, and certainly it did take a while for me to get into it), I believe it cast a bigger emotional punch (certainly for me anyway). It’s story is quite timely, in this age where people are obsessed with how they look due to celebrity culture, and more and more people are feeling unhappy about their bodies. It is quite telling that Violet was not given a visible scar - is it perhaps all in her head? There is quite clearly a mix of reality and dream within the show’s book - what is she dreaming and what is imagined? As others have said, its message of acceptance (of yourself and others) is very moving.
Tesori’s score is excellent - I knew some of it going in, but I loved how she used different styles, as it moved through the different American destinations, but still retained a sense of unity through repeating motifs and lyric ideas.
The cast were strong, and I enjoyed the direction and design. I also liked the new layout of the theatre.
Another one ticked off the list, and glad I have finally got a chance to see it.
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Post by danieljohnson14 on Apr 8, 2019 19:15:19 GMT
Kaisa took a bag of popcorn off an audience member in the front row on Friday and put it on the floor in character. Love her!  |
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Post by vabbian on Apr 9, 2019 4:39:50 GMT
As much as I didn't enjoy this production, I have been listening to 'On My Way' from the Broadway cast recording non-stop!
What a banger!
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Post by kzf on Apr 26, 2019 13:52:17 GMT
It is quite telling that Violet was not given a visible scar - is it perhaps all in her head? There is quite clearly a mix of reality and dream within the show’s book - what is she dreaming and what is imagined? Super interesting interpretation. {Spoiler - click to view}I've always interpreted the missing scar to serve the purpose of introducing ambiguity after Violet's "healing" which helps us to buy into that dream of hers as you say. Also it leaves it to the audience to interpret how "bad" her scar is (for want of a better word), I think taking that away with a visible scar would detract a lot from our experience. I genuinely hadn't considered that her scar is completely in her head, but I love that reading a lot! Sorry for bumping an old thread, missed reading this when it was relevant. I just adore this show, and I thought this was a stunning production. Emotionally it hits me in all the right places for whatever reason. Nice to read lots of contrary opinions, though, different strokes and all that. |
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Post by HereForTheatre on Apr 26, 2019 15:20:16 GMT
I had the same thought regarding her not actually having a scar at all.
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Post by mallardo on Apr 26, 2019 16:43:17 GMT
Every other character reacts to seeing the scar. It's real. If it were not then the whole thing is Violet's fantasy which would make the piece pointless.
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Post by kzf on Apr 26, 2019 20:10:00 GMT
Every other character reacts to seeing the scar. It's real. If it were not then the whole thing is Violet's fantasy which would make the piece pointless.
Sure, it's absolutely the intention that it's real (certainly in the source short story). Just seemed an interesting starting point when thinking about the show. Could there be some element of unreliable narration going on in her interactions with the bus driver/old lady for example? Could her scar have essentially healed, but her internalized resentment means she still lives with it? Always fascinating to see the new perspective that other people bring to a piece of art. |
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