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Post by Phantom of London on Apr 15, 2018 17:55:43 GMT
Mmmmm.
Years ago when you had Rogers/Hammerstein and Lerner/Lowe very prolific songwriters who music was aimed at white married middle class audience, since then Theatre has diversified and embraced different markets, for example you had La Cage Aux Folles that spoke directly to the LGBT community, Disney melded well with childrean and Wicked hit the sweet spot with teenage girls, BTW the three examples I use are not exclusive. Jersey Boys connected very well to men, for the first time married men were dragging their wives to the theatre, instead of the other way round!!!!
If Dreamgirls and Aladdin has found a more diverse audience, then that is awesome, today we have a bigger population that has disposable wealth that is made up of all parts of a diverse community, which theatre can and should speak to.
It is time to break that white middle class bubble and make theatre and people’s perceptions of the form, that it is inclusive to all.
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Post by danb on Apr 15, 2018 18:16:11 GMT
Her comeback broke at the height of the CD boom, and as such I would agree that she attracted a more middle aged, middle class audience. See also Sade, Terence Trent D’arby etc...don’t hold your breath for their jukebox musicals though 😀
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Post by Snciole on Apr 15, 2018 20:00:29 GMT
Ike and Tina did tour here, my Mum saw them!, but even that was mainly as support for the Rolling Stones. Certainly when I went to her last tour the audience was middle aged and white for the most part. That's interesting. Jagger was very instrumental in her comeback too but Rolling Stones are a group that have crossed racial divides due to longevity rather than because they felt that there was audience. Tina the Musical can be divided into black and white in terms of the show. The first half is dominated by her marriage to Ike and her relationships with other band members artists. The second half with Roger Davies, her female manager/friend and of course her partner Erwin is much more dominated by the white cast. So I think Tina herself knows that career has been segregated, for want of a better term. |
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Post by Deleted on Apr 17, 2018 17:56:21 GMT
Surprised the two guys who play Phil spector and Martin get bows after the girls who play the Iketes
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Post by Deleted on Apr 17, 2018 21:02:36 GMT
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Post by Seriously on Apr 17, 2018 21:04:42 GMT
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524 posts
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Post by callum on Apr 17, 2018 21:28:38 GMT
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Post by bellboard27 on Apr 17, 2018 22:12:19 GMT
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Post by Phantom of London on Apr 18, 2018 9:05:46 GMT
Surprised at the lacklustre reviews so far.
It got a rave in today’s Daily Mirror.
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Post by ellie1981 on Apr 18, 2018 9:16:36 GMT
What Jukebox musical has ever got initially great reviews? Genuinely asking as I may be wrong. I just don’t remember critics ever raving about many. Maybe Jersey Boys.
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Post by Deleted on Apr 18, 2018 11:57:38 GMT
Now extended until February 2019! Clips from the show, Adrienne sounds and looks incredible!  |
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Post by sherriebythesea on Apr 18, 2018 14:28:28 GMT
Does anyone know how long Ms Warrens contract runs to? Also row Z isn't showing up as available on any of the dates I put in for late Oct-mid Nov. Are those the dayseats?
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Post by Ade on Apr 18, 2018 18:07:35 GMT
Now extended until February 2019! Clips from the show, Adrienne sounds and looks incredible! Interesting they have only really included the more concerty elements in here. Not surprising really, but I would hope that when they come to do a more coherent trailer it shows some of the story led pieces too. |
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Post by showtoones on Apr 20, 2018 13:30:24 GMT
Which performances does the standby do each week? Is it matinees?
Thanks
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Post by TallPaul on Apr 20, 2018 14:00:00 GMT
Tina is talking to Graham Norton on Radio 2 tomorrow. I don't think I've ever heard her actually speaking!
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Post by argon on Apr 20, 2018 20:10:46 GMT
Which performances does the standby do each week? Is it matinees? Thanks She did the mat last Thursday |
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Post by callum on Apr 20, 2018 20:33:47 GMT
Bloody hell it's rare when his radio guest is bigger than his TV guest!
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Post by showtoones on Apr 20, 2018 21:01:19 GMT
Which performances does the standby do each week? Is it matinees? Thanks She did the mat last Thursday Did you see Jenny? How was she? |
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Post by argon on Apr 22, 2018 8:09:39 GMT
She did the mat last Thursday Did you see Jenny? How was she? No I went in the evening & was told by the front of house team that Jenny did the matinee, so I guess she may cover the matinees considering the vocal exertions caused by doing two shows in a day for this show. |
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Post by distantcousin on Apr 23, 2018 20:41:19 GMT
Praying I get to see Adrienne Warren on the Saturday matinee I attend. Mainly because I've already seen Jenny in Soul Sister!
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Post by showtoones on Apr 27, 2018 16:05:43 GMT
Does Adrienne perform on Friday nights?
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Post by loureviews on Apr 28, 2018 19:55:08 GMT
I think it was Adrienne today at the matinee but could anyone confirm, please? We were in the gods so I'm not entirely certain!
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Post by 72arodney on Apr 28, 2018 23:52:50 GMT
I checked with box office a few days ago and they told me that on a 'regular week' Adrienne is off Monday and Thursday matinee.
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Post by loureviews on May 2, 2018 14:12:02 GMT
My review of this:
You’re probably very familiar with the story of Tina Turner – born Anna Mae Bulloch. She was spotted by Ike Turner when she was a teenager and her distinctive and powerful voice livened up his Revue Band for sixteen years of music success and violent domesticity.
The first act of this musical starts in church, when young Anna Mae already seeks attention. Abandoned by her parents she becomes a cotton picker and grows under the care of her grandmother.
On rejoining her mother and elder sister she runs wild and is practically pushed towards the much more worldly Ike, who grooms her into marriage while resenting her superior talent.
Of course we only have Tina’s word about these early years, and by the end of Act One she’s taken her two boys and made a run for it. There are some musical bits in this half, but the show didn’t come to life for me until Proud Mary.
Act Two sees Tina, ‘knocking forty’ and without a record deal. She’s taken on by a Aussie producer and finds herself on the other side of the world, with a new image, a new partner in marketing whizz Erwin Bach, and eventual super-stardom.
Adrienne Warren is note-perfect as Tina, from teenage years to mature rocker. She has her first chance to show off her pipes on River Deep, Mountain High and comes into her own with vibrant energy in the Simply The Best finale.
Produced by Turner and Bach, this show is close to hagiography, with the story clearly slanted to the infatigable determination of Anna Mae. Young Anna Mae is played by a rotating trio of girls (I think we saw Reya-Nyomi Brown) with their own infectious spirit.
Lorna Gayle is in great voice as GG, Tina’s gran, and Kobna Holdbrook-Smith convinces in a tough role as Ike – he gets booed as the villain but he’s a good singer in his own right.
Interestingly, Tina’s solo success comes with a step away from the black community and with the help of whites like Phil Spector, Rhonda Graham, Terry Britten and Roger Davies. Even from David Bowie, who reportedly told the record label they would be mad not to sign her – there’s a moment where I thought he would be introduced but thankfully, no.
A decent show but it could do with a bit of a snip and be warned, it takes a while to warm up. Go for Warren’s performance though – she really is that good.
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Post by ensembleswings on May 10, 2018 13:22:09 GMT
So I’m sat in my seat about to see today’s matinee.
Aisha is on as Tina which excites me as I do love a cover show and my luck has come in as the one swing I wished to see is also on today. Hopefully the show doesn’t disappoint
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