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Post by crabtree on Mar 30, 2022 23:08:41 GMT
I'd like to see the show report from the performance at the Lowry tonight. Just as I was marvelling at how hey manage to pack up and set up such an epic show in such a short time, the show ground to a halt. I saw a red torch behind the barricade after the second big barricade scene, and someone muttering on stage, then the orchestra stopped and the safety curtain came down. A friendly voice announced a couple of times that they would continue, and eventually they did, with not a barricade to be seen. Sadly the atmosphere disappeared with it, and everything was definitely off kilter after that. Odd lights coming on here and there, but I hope no one had been hurt in any sort of accident. In a way I wished they stopped the performance then. In great shape, packed with business, but I still rather hate the whole of the wedding scene. very tacky.
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Post by crabtree on Apr 1, 2022 11:32:12 GMT
sill thinking about this production that i saw a few nights ago. I did see it when it first came to Manchester twelve years ago (!). There are some great moments, where it really does look like a classical painting, but there is a lot of business and so much clutter with the set. The various staircases that form the Maser in the House setting, are they the same pieces redressed for the barricades. I assumed that the point of this production was that it was simpler to tour, but heck there's a lot of set involved. I wonder how many trucks this takes to move round. Maybe the revolve was just too complicated. i do miss the deceptive economic theatricality of the original. This one is so full of 'stuff'.
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Post by inthenose on Apr 1, 2022 17:06:20 GMT
sill thinking about this production that i saw a few nights ago. I did see it when it first came to Manchester twelve years ago (!). There are some great moments, where it really does look like a classical painting, but there is a lot of business and so much clutter with the set. The various staircases that form the Maser in the House setting, are they the same pieces redressed for the barricades. I assumed that the point of this production was that it was simpler to tour, but heck there's a lot of set involved. I wonder how many trucks this takes to move round. Maybe the revolve was just too complicated. i do miss the deceptive economic theatricality of the original. This one is so full of 'stuff'. Nothing to do with the revolve being hard to tour, it stacks and you can fit the whole thing in pieces (including motor) basically into a transit van. The reason for the lack of revolve is similar to the situation at Phantom, it is about making a legal distinction as to what forms a "new production". The revolve is so closely related to John Napier's original designs that he could claim (well paid) credit if a court deemed they had mimicked design/staging concepts from the original. The same residuals he was being paid for decades. The original production team had sweetheart deals, same as Phantom (and lots of other failed shows!) namely percentages of gross for key people, in lieu of huge salaries/freelance fees. Crawford was taking a percentage per night right up until the original production closed. We have to remember, nobody thought when they opened that either of these shows would run beyond a few years, let alone over three decades(!). There will never be a revolve in Les Mis again without a private financial settlement with the original creatives. |
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Post by scarpia on Apr 2, 2022 16:31:10 GMT
sill thinking about this production that i saw a few nights ago. I did see it when it first came to Manchester twelve years ago (!). There are some great moments, where it really does look like a classical painting, but there is a lot of business and so much clutter with the set. The various staircases that form the Maser in the House setting, are they the same pieces redressed for the barricades. I assumed that the point of this production was that it was simpler to tour, but heck there's a lot of set involved. I wonder how many trucks this takes to move round. Maybe the revolve was just too complicated. i do miss the deceptive economic theatricality of the original. This one is so full of 'stuff'. Nothing to do with the revolve being hard to tour, it stacks and you can fit the whole thing in pieces (including motor) basically into a transit van. The reason for the lack of revolve is similar to the situation at Phantom, it is about making a legal distinction as to what forms a "new production". The revolve is so closely related to John Napier's original designs that he could claim (well paid) credit if a court deemed they had mimicked design/staging concepts from the original. The same residuals he was being paid for decades. The original production team had sweetheart deals, same as Phantom (and lots of other failed shows!) namely percentages of gross for key people, in lieu of huge salaries/freelance fees. Crawford was taking a percentage per night right up until the original production closed. We have to remember, nobody thought when they opened that either of these shows would run beyond a few years, let alone over three decades(!). There will never be a revolve in Les Mis again without a private financial settlement with the original creatives. This is correct (though I didn't know Crawford's royalty for Phantom went beyond his actual run...is that right?!). John Napier has publicly stated that Cameron Mackintosh approached him shortly before he commissioned the Laurence Connor/James Powell version (which is really Cameron's version, with others just doing what he tells them) to buy the intellectual property rights in the designs for the original production. Understandably, Napier declined, on the basis that getting an annual royalty would be far better than a one-off payment with no sums ever again. Then there was the matter of the RSC having a co-producing cheque too. Mackintosh unfortunately figured out that if he just jettisoned the entire show and built it instead in his own image with an entirely in-house team with the usual crowd (Kinley, Connor etc) who wouldn't be entitled to royalties like the original creatives, then that would allow him to do what he wanted with the show without having to pay other people or get their consent. |
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Post by Deleted on Apr 3, 2022 6:12:36 GMT
I saw the UK tour the other week and for me it was possibly the strongest I'd ever seen the show anywhere in terms of cast. There really wasn't a weak link, with possibly one of the best eponines of the last 15 or so years. Everyone was outstanding, even Marcus and cossette were strong and likeable.
The orchestra also sounded great, certainly one of the fullest sounding for a tour in a long time.
The physical production is fine, but the changes don't add anything and its not as impactful. The barricade deaths don't have quite the same impact and aren't quite as moving and the storytelling isn't as clear thanks to the removal of dates and places behind projected. The projections were sometimes surprisingly shaky considering its a high level production.
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Post by tysilio2 on Apr 5, 2022 9:03:04 GMT
Could any of the NW contingent on here please advise as to whether the multistory carpark at the Lowry is the best place to park for a Thursday matinee please. I have to drive there unfortunately.
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Post by crabtree on Apr 5, 2022 10:30:38 GMT
It is certainly the most convenient car park, but is desperately slow to unload after a packed show, and unfortunately the roads around the lowry are a mass of cones. Get there early and have a meal. The traffic really is appalling a the moment, but the show, of course, is worth it. The roads simply can't cope with the traffic.
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Post by BurlyBeaR on Apr 5, 2022 10:33:39 GMT
I think the tram line is out of service at the moment too, so alternative ways of getting there are limited.
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Post by og on Apr 5, 2022 10:41:40 GMT
Could any of the NW contingent on here please advise as to whether the multistory carpark at the Lowry is the best place to park for a Thursday matinee please. I have to drive there unfortunately. It's a good option in terms of proximity but as mentioned Salford Quays traffic is horrendous and there will be a lot of slow movement especially post-matinee as MediaCity office workers depart around the same time too. Depending on what direction your coming into Salford, you may want to consider parking at Imperial War Museum and the short walk over the bridge to Lowry, you'd be back on the road quicker. The only consideration there is the car park closes at 7pm, if you were planning on eating post-show. |
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Post by tysilio2 on Apr 5, 2022 11:36:21 GMT
Could any of the NW contingent on here please advise as to whether the multistory carpark at the Lowry is the best place to park for a Thursday matinee please. I have to drive there unfortunately. It's a good option in terms of proximity but as mentioned Salford Quays traffic is horrendous and there will be a lot of slow movement especially post-matinee as MediaCity office workers depart around the same time too. Depending on what direction your coming into Salford, you may want to consider parking at Imperial War Museum and the short walk over the bridge to Lowry, you'd be back on the road quicker. The only consideration there is the car park closes at 7pm, if you were planning on eating post-show. Thanks all for the helpful replies. One further question, if I try the IWM parking and there is no room, is it simple enough to drive to the multistory (over the canal?) Or would I need to retrace my journey on the main roads. |
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Post by og on Apr 5, 2022 13:22:57 GMT
It'd be a 10-15min drive round to the Lowry multi-storey
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Post by BurlyBeaR on Apr 8, 2022 10:41:11 GMT
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Post by tysilio2 on Apr 14, 2022 19:08:17 GMT
Could any of the NW contingent on here please advise as to whether the multistory carpark at the Lowry is the best place to park for a Thursday matinee please. I have to drive there unfortunately. It's a good option in terms of proximity but as mentioned Salford Quays traffic is horrendous and there will be a lot of slow movement especially post-matinee as MediaCity office workers depart around the same time too. Depending on what direction your coming into Salford, you may want to consider parking at Imperial War Museum and the short walk over the bridge to Lowry, you'd be back on the road quicker. The only consideration there is the car park closes at 7pm, if you were planning on eating post-show. Thanks for the great IWM suggestion. Very easy to get to and plenty of spaces at 1pm ish. Took us seconds to leave after the show and had a journey home free from queueing traffic. |
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Post by hitmewithurbethshot on May 13, 2022 9:04:08 GMT
Is Dean Chisnall alright? He seems to have missed the entire Milton Keynes stop
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Post by thistimetomorrow on May 13, 2022 9:10:20 GMT
Is Dean Chisnall alright? He seems to have missed the entire Milton Keynes stop Some kind of injury apparently? |
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Post by Steffi on May 13, 2022 9:16:55 GMT
Is Dean Chisnall alright? He seems to have missed the entire Milton Keynes stop He's been off injured |
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Post by littlefluffychick on May 13, 2022 23:41:27 GMT
Luke McCall, the alternate JVJ who performs on Thursdays in London covered the entire Milton Keynes run. We were so lucky to see him last Friday - honestly Luke was the youngest JVJ I have ever seen in the role, but he was my absolute favourite of all time. I’ve seen the show many many times over the years and this touring production is outstanding, the only weak link is the actress who plays Grown up Cosette, but everyone else is incredible - especially Luke McCall, what a talent. I’m going to book a Thursday show in London as soon as I can afford it!!
ps get well soon Dean Chisnell
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Post by shady23 on Dec 10, 2022 20:57:11 GMT
Cannot believe I had to trail to page 7 of the forum to find this thread. I haven't seen the London production recently so cannot comment, however, I have seen the tour so CAN comment on that  I saw it in Sunderland and loved it so much I ended up seeing it 4 times. I thought the cast were outstanding one and all. I saw the pairing of Will Barratt as JVJ and Jordan Simon Pollard as Javert for three of the shows and they were absolutely brilliant. No way would anyone in that audience have guessed they weren't the leads. So good. Another standout for me was Siobahn O'Driscoll as (Scouse) Eponine. Wow. She can sing. Absolutely flawless performance! What a talent. Lauren Drew as Fantine also absolutely magnificent. In fact, I thought the entire cast were brilliant and the production was so fresh, definitely Samuel Wyn-Morris as Enjolras was another standout, but all so good and saw so many understudies/covers/swings over the four shows. Not a weak link in any of them. Really cannot recommend this tour enough. I booked again to see it in Leeds earlier in the week. Extra tickets labelled as "restricted view" for stalls row a and b went on sale for £25. Leeds theatre were very quick to market these as you may not see but you will hear, which will have put many off, but we took a risk and booked row b. Yes a very high stage but only missed around 5% of the action if that and what an absolute joy to be so close. I can't imagine ever being able to afford a similar view in London. Dean Chisnall was back for Leeds and I had forgotten how incredible he is and alongside Nic Greenshields they make a formidable team. Absolutely outstanding. Dean Reid was on as Thernardier and Harry Chandler as Enjolras and I thought they were both fantastic. Seeing the show five times in recent weeks with different understudies and swings on each time was a bit of a joy for a theatre geek like me. To see how people effortlessly swap roles night after night is so interesting to me. Will and Jordan were back to their usual roles in Leeds and great to see their versatility. Will the Bishop and Jordan the Factory Foreman among others. Honestly cannot praise this cast highly enough. Cardiff sadly the last leg of the tour but they really are doing the show proud. |
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