The Bridges of Madison County (Menier summer musical)

There is a distinct lack of filter with some people. Mostly, it’s through a mismatch between how they believe they are perceived and the actuality; like Anne Widdecombe now she’s back being a bigoted politician rather than a crap dancer. 

On the internet, the supposed anonymity makes it more prevalent, I think, as that humanity filter seems even less necessary. The sort of aggression they deal in would have them decked in real life and they know it. 

On one of the American sites there was an issue recently where posters had crossed the line even more than they usually do, resulting in bans, greater moderation and so on (and rightly so, given what I saw). Cue lots of flouncing and angry screeds about ‘free’ speech. I’d like to say ‘only in America’ but it gets close here sometimes.

EDIT: I hope I am wrong but I also get the impression at times, given the nature of their comments, that some posts are by a fellow professional taking out their personal grievances under the cloak of anonymity. Not a good look.

I'm thinking the same thing tbh.  I only come to London once a year and have limited time to see shows so have to choose wisely.  I'm wondering now whether to ditch my ticket for this and go see something else instead.

No it hasn't. Press night is tomorrow.

Out of curiosity I watched a couple of YouTube vids of Edward Baker Duly including the (world famous © TallPaul) Crucible Kiss Me Kate and would suggest that he certainly can sing. Maybe this score is a problem or maybe he’s not feeling it for some reason. It’s a shame that his performance isn’t chiming for whatever reason because that’s what the press are going to home in on.

I'm going on Friday night

This is ridiculous - there are dozens of shows - Fiddler, 42nd Street, Come From Away, Dreamgirls, Phantom, The Prom, Carrie, Dogfight that are sensational theatre experiences. There are dozens that are good and average and then there are dozens that are boring, badly written, too long and have the wrong casting. Whether we are in current shows, were in shows, agents, actual reviewers, journalists, those do amateur theatre, backstage or work front of house or simply the public who ENJOY musical theatre - we have a respectful right to share our opinions. That’s what this board is for. I think we can all name 10/20 theatrical experiences that changed our lives and were amazing. If this wasn’t one of them - them I’m sorry you’re disappointed! But we have a right to free speech (as long as it’s not offensive or nasty) - did I like this show? No. Have I loved others at the Mernier. Yes. Many. Peace x

I didn't say unanimously mauled by previewers... but there's very much a marmite thing going on...I might reconsider Thursday based on your feedback, thanks.

Wash your mouth out with soap! Carrie was fantastic and Kim Criswell was amazing.

Is there another production of Carrie? Where?

For me, I loved Jenna Russell's immense soulfulness, but didn't feel her opposite number was quite able to match her depth of feeling.

Some spoilers follow. . .

This is like "Brief Encounter" or "Casablanca," without the melodrama or the war to bring the heightened gravitas, so the gravitas must all come from the performances, and while Jenna Russell can shed wistful tears in her sleep, Edward Baker-Duly doesn't.

This skewed the piece, so that instead of it feeling like two romantic souls clinging briefly but beautifully to an iceberg, it instead felt, to me, like a kind of gendered porn, where a deep feeling female character suddenly finds herself loved unconditionally by a hunk, with the sex scenes transmuted into songs.

From that specific "porn" perspective, it kind of works, as Edward Baker-Duly actually sings tenderly and sweetly, and his hands-on-hips, jutting chin and thrusting grin acting style, coupled with his long hair, reminded me of the retro televisual manliness of eighties-era Marc Singer, in "Beastmaster" or "V," or the nineties swagger of Hercules-era Kevin Sorbo.

But as a sensitive drama, the mismatch in acting styles did not really hit the spot for me.

Elsewhere in the ensemble, there were some stumbles with finding pitch and holding notes, but this was more than balanced by the magnificent Shanay Holmes' one song, "Another Life," and the generally great Gillian Kirkpatrick's all-round everything.

In addition, Maddison Bulleyment gives an exceptionally endearing performance as Russell's yearning and hopeful daughter, Carolyn, such that I always wanted to see more of her and her wide-eyed, charged and interesting side-story.

While overall, the singing is not all at the pristine standard of the Broadway production, or indeed, of Shanay Holmes' terrific cameo, Jenna Russell's deep wells of feeling held the piece together for me such that I did not regret going.

One thing that did bother me about the piece was how po-faced it is, compared to other love stories that work better, like "Once" or indeed "Love Story" itself, the lack of humour here was a shame, because Russell is just as good at funny as feeling, and it simply isn't asked of her here.

3 and a half stars from me.

Saw the last preview yesterday.

Jenna is a sensational actress in probably one of the finest moments of her career.

Vocally is not broadway standards (apart from Shanay Holmes) having that would have been the icing on the cake as the cast acts flawlessly and even the set is one of the most impressive I ever seen on a fringe venue.

Sir Double Denim sat in the audience taking notes and sipped champagne during act two, so I guess he's happy with what he was seeing..

I can see why some people didn't like it, specially if you are used to listen to the OBC recording but I wouldn't avoid going, specially if you already have a ticket. And you don't have a ticket yet and you don't fancy paying Menier premium prices D21 and D22 at 25 pounds are absolutely bargains, there are listed as restricted but you only miss a couple of moments.