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Post by scarpia on Aug 26, 2021 14:01:36 GMT
Caught the matinee yesterday. It’s very different to ALWs usual vibe but I enjoyed the music and the story for what it was. Some thoughts. The set was magical - there I said it. Lit it looked beautiful. The photos they released of the unlit stage made it look like a Year 6 end of term play don’t do it justice. Same with the costumes. They look gorgeous and intricate under the lights. The Queen gets all the best costumes naturally. Hers had the wow factor for sure. The songs work much better in context. Bad Cinderella works when she’s being pulled around the stage by the villagers but still doesn’t excuse the mental health slur lyrics in whatever context. They’re not clever or funny. CHF is believable when she’s playing the bolshie Cinderella but the softer emotional scenes definitely need work. Pulling a ‘sad face’ didn’t really do it for me. She has a pure voice and I think the singing lessons she’s been talking of on sm have definitely strengthened her voice which was sounding tired in Heathers. Good chemistry with the understudy Sebastian though who looked more her age than Ivano. Michael Hamway smashed Only You Lonely You. Best round of applause of the show seemed to carry on and on and definitely Andy’s best tune in this. I can see it being an audition standard for years. The ‘did someone say my name’ and reveal is a blatant attempt to elicit entrance applause for the leading lady. It worked, Stepsisters were a hoot and straight out of the Essex girls/Love Island playbook. Laura Baldwin goes from strength to strength with each role. Stepmother - couldn’t decide whether that accent choice was a work of genius or the oddest thing I’ve ever heard. if we’re going Disney Villainess I guess it worked but script wise I don’t think she was evil enough to justify the accent. She was scheming sure but she relented a few times over Cinderella’s behaviour? A true villain would’ve cast her out penniless into the snow. And at the end? Can’t work out how to do a spoiler button but surely not a villainess reaction? The hunk song went on far too long and was neither sexy enough or camp enough to justify a little encore. Relying on bitch, Pr**k and knob as punchlines is lazy writing. The wig on transformed Cinderella and the silver dress combined with the paleness of her makeup made her look washed out rather than dazzling at the ball. I know the change is quick but she at least needs lipstick to avoid looking like an ancestor from Addams Family. I’m unsure whether the point of ‘the look’ is to make her irresistible at the ball (she was attracting lots of attention) or bland as bland can be (so he doesn’t recognise her) But the dowager duchess vibe is what I was getting and that’s entirely down to the styling. Her entrance reveal music seemed to suggest she should look knockout though so? CHF is a beautiful woman - the look did her no favours. I want the crystal shoes. The god mother - what a voice, what a song! But so many questions? Why the constant threats to be home by midnight? Why did she want Cinderella’s treasured possession (very Little Mermaid) There are no consequences for not being home at 12? The item is returned v easily later for no apparent reason. Beauty has a price is a great song but the character seemed to be quietly dropped after this huge number. What a waste. Would love to see some more character development there- and the weird mannequins either choreo something menacing for them to do or lose them? The screen ball transformation is a poor device.. Come on, this is the west end I’m sure something more sophisticated could be pulled out of the bag. The returning character needs an adventure song to explain further. The little medley Cinderella sang towards the end felt a bit odd. Just choose a song and sing a reprise? Singing a bit of every song you’ve sung through the show was indulgent. Had something in my eye for Marry for love. Andy’s tunes are the best thing about the show. In the pantheon of his work if we’re giving Evita/Sunset 5 stars and Joseph 2 I’d give it 3 stars. A perfectly nice afternoon out and great to be back in the west end . Ps: barely anyone bothering with masks. We didn’t get our Covid pass checked and the curtain went up 20 minutes late due to them struggling to get the huge queue in. I don’t get the delays if they’re only doing bag checks as usual? Oh and some drama in the stalls when they asked 4 to leave as they were in someone’s seats. The waving of the tickets of the people asked to move seemed to suggest a mixup at the box office Thanks for the detailed and balanced review. Re the possibly overgenerous 5* reviews, David Benedict has written on this in The Stage:https://www.thestage.co.uk/opinion/let-joy-be-confined-why-the-rise-in-five-star-raves-could-prove-costly Really disappointed to hear that about masks. This is what is totally putting me off going to anything right now, and yet there are so many things (particularly plays) that I would like to see!
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Post by stagebyte on Aug 26, 2021 15:01:38 GMT
Ps: barely anyone bothering with masks. We didn’t get our Covid pass checked and the curtain went up 20 minutes late due to them struggling to get the huge queue in. I don’t get the delays if they’re only doing bag checks as usual? Oh and some drama in the stalls when they asked 4 to leave as they were in someone’s seats. The waving of the tickets of the people asked to move seemed to suggest a mixup at the box office Thanks for the detailed and balanced review. Re the possibly overgenerous 5* reviews, David Benedict has written on this in The Stage:https://www.thestage.co.uk/opinion/let-joy-be-confined-why-the-rise-in-five-star-raves-could-prove-costly Really disappointed to hear that about masks. This is what is totally putting me off going to anything right now, and yet there are so many things (particularly plays) that I would like to see! Particularly disappointing as it was ALW who was doing the most shouting about his theatres being the safest in the West end? So presumably as long as his cast is safe then the audience takes their chances?
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Post by Jon on Aug 26, 2021 16:02:01 GMT
Particularly disappointing as it was ALW who was doing the most shouting about his theatres being the safest in the West end? So presumably as long as his cast is safe then the audience takes their chances? I've said this before but ALW and Cameron need to practice what they preach, you can't slag off the Government in one breath but ignore rules and regulations at the same time.
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Post by marob on Aug 26, 2021 17:48:26 GMT
Thanks for the detailed and balanced review. Re the possibly overgenerous 5* reviews, David Benedict has written on this in The Stage:https://www.thestage.co.uk/opinion/let-joy-be-confined-why-the-rise-in-five-star-raves-could-prove-costly Really disappointed to hear that about masks. This is what is totally putting me off going to anything right now, and yet there are so many things (particularly plays) that I would like to see! Particularly disappointing as it was ALW who was doing the most shouting about his theatres being the safest in the West end? So presumably as long as his cast is safe then the audience takes their chances? That does seem to be the case sadly, and not just with ALW. It’s especially odd in this case as the cast comes out amongst the audience during the ball and the wedding.
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Post by theoracle on Aug 26, 2021 20:23:47 GMT
Really looking to book for this and was just wanting to ask how high the stage is? I usually like to be on eye level so will Row C stalls be ok? I’ve seen some pics but not sure how they are in actual life. I think pre-refurb I would’ve gone row C-E but not sure how much has changed and what the rake is like now too.
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Post by amp09 on Aug 26, 2021 21:23:01 GMT
Has anyone entered the lottery for this? I entered for both this and Joseph for next week and received my email today for Joseph letting me know that I won but haven’t had anything from Cinderella. I know Joseph also emails to say if you haven’t won on a Thursday, so wanting to check if the same happens here so I know either way for next week.
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Post by Mark on Aug 26, 2021 21:27:17 GMT
Really looking to book for this and was just wanting to ask how high the stage is? I usually like to be on eye level so will Row C stalls be ok? I’ve seen some pics but not sure how they are in actual life. I think pre-refurb I would’ve gone row C-E but not sure how much has changed and what the rake is like now too. I was row D and was fine. I’d go as central as possible though.
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Post by mkb on Aug 26, 2021 21:36:07 GMT
Really looking to book for this and was just wanting to ask how high the stage is? I usually like to be on eye level so will Row C stalls be ok? I’ve seen some pics but not sure how they are in actual life. I think pre-refurb I would’ve gone row C-E but not sure how much has changed and what the rake is like now too. Most people in row A had eyes a couple of inches below stage height. Row B was level. Row C was above. Even in row A, with stretching when necessary, I doubt you'd have missed much. I was in C, and it was ideal.
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Post by theatre on Aug 26, 2021 23:52:40 GMT
Got around to catching this tonight and I’m not quite sure what to make of it all. For me definitely not a 5* rave show as some of the reviews have suggested. I thought Act 2 was stronger than Act 1 but this may be because I’d gotten used to what to expect by this point. My thoughts aren’t anything new I don’t think but here they are nonetheless! Potential spoilers ahead...
Positives: - The revolve really is a wow moment, it received applause as it happened. - CHF and Ivano very good in this, particularly in I Know I Have A Heart and Only You respectively - In fact, all cast were very strong - Some great lighting design moments particularly in the ball and the reception party, and the sound design was crystal clear, didn’t miss a word (although I would have liked to hear more of the live string section over the pre-recorded stuff) - The plot didn’t bother me as much as I feared from reading the board, I thought everything could pretty much be explained or inferred (no excuse for the stepmother/queen’s history subplot being thrown away with ‘nobody cares’ though!)
Negatives: - Tonally this show will give you whiplash. It goes from campy fun to something trying to be sophisticated to adult humour to then really quite menacing at the end of act 1 - the poor 6 year old next to me didn’t quite know what to make of it. I got the vibe watching that if they’d have really committed to one of these it would have been a great show. - Sorry Andy, but your best work this ain’t. I’m struggling to remember the majority of the score now, and the 3 or so big numbers are memorable in part because they’re rammed down your throat ever 5 seconds in a number or reprises. Not a new thing for an ALW show necessarily, but there did seem more filler than usual. Partly I blame the orchestration and lyrics for this (ALW really should get in a proper orchestrator to do his shows and not attempt to fudge it himself). I think with a bigger live orchestra to play with, less reliance on pre-programmed synthesised percussion and some more sophisticated lyric writing the melodies would really be lifted. The content is all there, it’s just not *quite* right. - Some songs were too long, mostly in Act 1 (Man’s Man for example). - The Godmother is wasted as a character, and Charming also felt like he needed more of a comeback song (was this the Sea Witch song that was cut?)
All in all I felt like this could easily lose 20 minutes and be all the better for it. The whole show has the vibe of people writing their first musical and being given an unlimited budget for it, which I would understand if it weren’t for ALW’s involvement. I probably wouldn’t see it again, but I look forward to the inevitable revival production in 10 years when the tone has been fixed and it’s been trimmed down.
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Post by Oliver on Aug 27, 2021 1:13:57 GMT
Got around to catching this tonight and I’m not quite sure what to make of it all. For me definitely not a 5* rave show as some of the reviews have suggested. I thought Act 2 was stronger than Act 1 but this may be because I’d gotten used to what to expect by this point. My thoughts aren’t anything new I don’t think but here they are nonetheless! Potential spoilers ahead... Positives: - The revolve really is a wow moment, it received applause as it happened. - CHF and Ivano very good in this, particularly in I Know I Have A Heart and Only You respectively - In fact, all cast were very strong - Some great lighting design moments particularly in the ball and the reception party, and the sound design was crystal clear, didn’t miss a word (although I would have liked to hear more of the live string section over the pre-recorded stuff) - The plot didn’t bother me as much as I feared from reading the board, I thought everything could pretty much be explained or inferred (no excuse for the stepmother/queen’s history subplot being thrown away with ‘nobody cares’ though!) Negatives: - Tonally this show will give you whiplash. It goes from campy fun to something trying to be sophisticated to adult humour to then really quite menacing at the end of act 1 - the poor 6 year old next to me didn’t quite know what to make of it. I got the vibe watching that if they’d have really committed to one of these it would have been a great show. - Sorry Andy, but your best work this ain’t. I’m struggling to remember the majority of the score now, and the 3 or so big numbers are memorable in part because they’re rammed down your throat ever 5 seconds in a number or reprises. Not a new thing for an ALW show necessarily, but there did seem more filler than usual. Partly I blame the orchestration and lyrics for this (ALW really should get in a proper orchestrator to do his shows and not attempt to fudge it himself). I think with a bigger live orchestra to play with, less reliance on pre-programmed synthesised percussion and some more sophisticated lyric writing the melodies would really be lifted. The content is all there, it’s just not *quite* right. - Some songs were too long, mostly in Act 1 (Man’s Man for example). - The Godmother is wasted as a character, and Charming also felt like he needed more of a comeback song (was this the Sea Witch song that was cut?) All in all I felt like this could easily lose 20 minutes and be all the better for it. The whole show has the vibe of people writing their first musical and being given an unlimited budget for it, which I would understand if it weren’t for ALW’s involvement. I probably wouldn’t see it again, but I look forward to the inevitable revival production in 10 years when the tone has been fixed and it’s been trimmed down. I can simply counter that argument with I found the music memorable and I remember the score in its entirety. Of course you're going to think it's unmemorable if you don't like it. What's wrong with the orchestrations? The repetition argument (which you exaggerate) I dealt with in an earlier post. Also, remembering a song isn't the same thing as a song being memorable. Those are actually two separate things. Play any random song several times and you will probably remember it, sure, but that doesn't mean the song is memorable, nor does it make it any more appealing. You may as well just say you don't like these songs. 'Man's Man' too long? It seems the ideal length to me.
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Post by Deleted on Aug 27, 2021 2:16:05 GMT
I can simply counter that argument with I found the music memorable and I remember the score in its entirety. Of course you're going to think it's unmemorable if you don't like it. What's wrong with the orchestrations? The repetition argument (which you exaggerate) I dealt with in an earlier post. Also, remembering a song isn't the same thing as a song being memorable. Those are actually two separate things. Play any random song several times and you will probably remember it, sure, but that doesn't mean the song is memorable, nor does it make it any more appealing. You may as well just say you don't like these songs. 'Man's Man' too long? It seems the ideal length to me. Yikes. Defensive much? You dealt with someone's opinion in an earlier post. so that's it. No one can have that opinion again? Are you really ALW catfishing as someone else??
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Post by karloscar on Aug 27, 2021 7:48:15 GMT
I can simply counter that argument with I found the music memorable and I remember the score in its entirety. Of course you're going to think it's unmemorable if you don't like it. What's wrong with the orchestrations? The repetition argument (which you exaggerate) I dealt with in an earlier post. Also, remembering a song isn't the same thing as a song being memorable. Those are actually two separate things. Play any random song several times and you will probably remember it, sure, but that doesn't mean the song is memorable, nor does it make it any more appealing. You may as well just say you don't like these songs. 'Man's Man' too long? It seems the ideal length to me. Yikes. Defensive much? You dealt with someone's opinion in an earlier post. so that's it. No one can have that opinion again? Are you really ALW catfishing as someone else?? That crossed my mind when I dared to be slightly critical a few pages ago. Someone is incredibly touchy that his choons are seen as less than perfect. Bless!
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Post by Oliver on Aug 27, 2021 8:27:43 GMT
Apologies, that wasn't my intention, but I can see how it may have come across like that.
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Post by theatre on Aug 27, 2021 8:51:42 GMT
I can simply counter that argument with I found the music memorable and I remember the score in its entirety. Of course you're going to think it's unmemorable if you don't like it. What's wrong with the orchestrations? The repetition argument (which you exaggerate) I dealt with in an earlier post. Also, remembering a song isn't the same thing as a song being memorable. Those are actually two separate things. Play any random song several times and you will probably remember it, sure, but that doesn't mean the song is memorable, nor does it make it any more appealing. You may as well just say you don't like these songs. 'Man's Man' too long? It seems the ideal length to me. This is what I love about theatre, how it is so subjective, and I’m glad the show has found a fan in you! As someone who works in music, it tends to take no time at all for songs and melodies to stay with me which is why I’m always surprised when they do not, as is the case with me on this one. Having said this, I have got the main motif of the opening number in my head this morning so clearly there are some memorable moments. Out of interest, have you listened to the recording either before or since? I haven’t done this so I’m sure that would have some bearing on how much a song would stay with you. As I also alluded to in my post however it’s not the melodies themselves I particularly had a problem with but rather their whole packaging. Orchestration-wise I think the score would have been better served by a larger band, numbers such as Far Too Late would have sounded phenomenal with a larger string section and some live percussion, however as we’ve seen with Phantom recently, large bands aren’t in at the moment. The whole show for me sounded a bit like it was accompanied by a preset rhythm track on a Casio keyboard and for a top budget west end show that doesn’t wash with me.
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Post by FairyGodmother on Aug 27, 2021 9:06:04 GMT
The bit that samples Richard Rodgers you mean? 😄
ALW does write some very catchy stuff — Crazy from Starlight Express was going round in my head the other day, and it took me ages to realise it wasn't a "proper" doo-wop song, and I've definitely found myself humming bits of Cinderella.
I think the orchestration had to rely a lot on computers, and then most of it hasn't ever been played by a full orchestra. I wonder whether if they had been able to record the whole thing with an orchestra whether they'd have made a few tweaks.
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Post by Oliver on Aug 27, 2021 10:53:34 GMT
I can simply counter that argument with I found the music memorable and I remember the score in its entirety. Of course you're going to think it's unmemorable if you don't like it. What's wrong with the orchestrations? The repetition argument (which you exaggerate) I dealt with in an earlier post. Also, remembering a song isn't the same thing as a song being memorable. Those are actually two separate things. Play any random song several times and you will probably remember it, sure, but that doesn't mean the song is memorable, nor does it make it any more appealing. You may as well just say you don't like these songs. 'Man's Man' too long? It seems the ideal length to me. This is what I love about theatre, how it is so subjective, and I’m glad the show has found a fan in you! As someone who works in music, it tends to take no time at all for songs and melodies to stay with me which is why I’m always surprised when they do not, as is the case with me on this one. Having said this, I have got the main motif of the opening number in my head this morning so clearly there are some memorable moments. Out of interest, have you listened to the recording either before or since? I haven’t done this so I’m sure that would have some bearing on how much a song would stay with you. As I also alluded to in my post however it’s not the melodies themselves I particularly had a problem with but rather their whole packaging. Orchestration-wise I think the score would have been better served by a larger band, numbers such as Far Too Late would have sounded phenomenal with a larger string section and some live percussion, however as we’ve seen with Phantom recently, large bands aren’t in at the moment. The whole show for me sounded a bit like it was accompanied by a preset rhythm track on a Casio keyboard and for a top budget west end show that doesn’t wash with me. Thanks for your reply. I only listened to the cast recording after I had seen the show. I had heard the pre-released songs beforehand and was disappointed with them, especially "I know I have a heart", which even now I consider mediocre. "Only You Lonely You" I underestimated when I heard the pre-release. That's a song I've grown to love. "Far Too Late" is a pretty song but only middling by ALW standards. It works well in context, and I enjoy it as part of Cinderella, but the melody isn't top drawer in my opinion. However, it's the score in its totality that impresses me most. I love the musical construction, the way he tells the story through music. For me, the most memorable moments aren't necessarily the big songs of the night. It's not a musical that's up there with Evita or Phantom of course, but it's not that kind of show. Where I do think that repetition is unjustifiable is in the second act soliloquy, which is essentially a medley of Cinderella's earlier songs. It would surely have been better for her to have a completely new song here? Perhaps ALW was thinking that this might detract from "Unbreakable" in Act 1 (which is actually more like a soliloquy). Where the show really falls down is in the ball sequence which should have been a major highlight of the show and focal point for the drama. The stark warning from the Godmother in act 1 seems to have no real significance. I think the critics who were lukewarm about the show were expecting this to be some kind of deconstruction of Cinderella, something which was never the intention. I really like the fact that the musical raises questions and puts a modern spin on the story without trying to hammer home a message. I completely agree about having a larger orchestra but this will unfortunately have been imposed on him by financial constraints. A professional orchestrator would have had to work within the same limitations.
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Post by FairyGodmother on Aug 27, 2021 15:17:31 GMT
I think covid was very limiting as well — as far as I can make out, the head of music from RUG moved in with ALW and they basically did it together at his house (which admittedly is far better set up for that most people would be!).
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Post by theatre on Aug 27, 2021 19:04:46 GMT
One thing that has been on my brain since seeing the show is where I’ve heard the melody/ harmony of the verse of Man’s Man before (‘he was the real Prince Charming, was impossible to dislike him…’) … I can’t think if it’s an older musical/film or what but I definitely know that tune so if anyone has any ideas where it came from that would be great!
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Post by inthenose on Aug 27, 2021 20:08:13 GMT
Got around to catching this tonight and I’m not quite sure what to make of it all. For me definitely not a 5* rave show as some of the reviews have suggested. I thought Act 2 was stronger than Act 1 but this may be because I’d gotten used to what to expect by this point. My thoughts aren’t anything new I don’t think but here they are nonetheless! Potential spoilers ahead... Positives: - The revolve really is a wow moment, it received applause as it happened. - CHF and Ivano very good in this, particularly in I Know I Have A Heart and Only You respectively - In fact, all cast were very strong - Some great lighting design moments particularly in the ball and the reception party, and the sound design was crystal clear, didn’t miss a word (although I would have liked to hear more of the live string section over the pre-recorded stuff) - The plot didn’t bother me as much as I feared from reading the board, I thought everything could pretty much be explained or inferred (no excuse for the stepmother/queen’s history subplot being thrown away with ‘nobody cares’ though!) Negatives: - Tonally this show will give you whiplash. It goes from campy fun to something trying to be sophisticated to adult humour to then really quite menacing at the end of act 1 - the poor 6 year old next to me didn’t quite know what to make of it. I got the vibe watching that if they’d have really committed to one of these it would have been a great show. - Sorry Andy, but your best work this ain’t. I’m struggling to remember the majority of the score now, and the 3 or so big numbers are memorable in part because they’re rammed down your throat ever 5 seconds in a number or reprises. Not a new thing for an ALW show necessarily, but there did seem more filler than usual. Partly I blame the orchestration and lyrics for this (ALW really should get in a proper orchestrator to do his shows and not attempt to fudge it himself). I think with a bigger live orchestra to play with, less reliance on pre-programmed synthesised percussion and some more sophisticated lyric writing the melodies would really be lifted. The content is all there, it’s just not *quite* right. - Some songs were too long, mostly in Act 1 (Man’s Man for example). - The Godmother is wasted as a character, and Charming also felt like he needed more of a comeback song (was this the Sea Witch song that was cut?) All in all I felt like this could easily lose 20 minutes and be all the better for it. The whole show has the vibe of people writing their first musical and being given an unlimited budget for it, which I would understand if it weren’t for ALW’s involvement. I probably wouldn’t see it again, but I look forward to the inevitable revival production in 10 years when the tone has been fixed and it’s been trimmed down. I can simply counter that argument with I found the music memorable and I remember the score in its entirety. Of course you're going to think it's unmemorable if you don't like it. What's wrong with the orchestrations? The repetition argument (which you exaggerate) I dealt with in an earlier post. Also, remembering a song isn't the same thing as a song being memorable. Those are actually two separate things. Play any random song several times and you will probably remember it, sure, but that doesn't mean the song is memorable, nor does it make it any more appealing. You may as well just say you don't like these songs. 'Man's Man' too long? It seems the ideal length to me. Everyone is allowed their opinion, Oliver. You can't "correct" it for them, it makes you seem quite aggressive. I'm sure this isn't your intention and you're just a very big fan of the show, but plenty aren't going to be and raise valid points.
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Post by showtoones on Aug 28, 2021 1:24:18 GMT
Do we have any idea when the Cinderella standby will be going on each week? How many shows is she doing?
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Post by amuseical on Aug 28, 2021 2:07:33 GMT
Do we have any idea when the Cinderella standby will be going on each week? How many shows is she doing? According to Instagram stories, she’ll be doing one show a week, but when that is has yet to be announced. She’s been rehearsed in though, so hopefully that announcement will come soon!
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Post by showtoones on Aug 28, 2021 5:37:47 GMT
Do we have any idea when the Cinderella standby will be going on each week? How many shows is she doing? According to Instagram stories, she’ll be doing one show a week, but when that is has yet to be announced. She’s been rehearsed in though, so hopefully that announcement will come soon! Thanks so much for this…if you hear anything, please let us know.
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Post by greeny11 on Aug 28, 2021 9:24:16 GMT
In response to someone who asked this question - this is her first show:
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Post by danb on Aug 28, 2021 9:33:22 GMT
I can see the complaints now…
“”This was our little Pandora’s last treat before being taken back to boarding school on Friday only to find that the very reason we had shelled out a small fortune (of my husbands inheritance/ill gotten gains from city work/my 12 years as a high class call girl) Fletcher Carrie Hopes was not even going to be performing. I would never have normally booked for an out of season Panto without that dishy Nigel Havers, but Pandora simply adores Fletcher after following him on Tiktweetgram. I would like a full refund and the phone numbers of those gentlemen in leather please.
Yours
Henrietta Barrington Smythe
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Post by fiyero on Aug 28, 2021 10:03:49 GMT
I can see the complaints now… “”This was our little Pandora’s last treat before being taken back to boarding school on Friday only to find that the very reason we had shelled out a small fortune (of my husbands inheritance/ill gotten gains from city work/my 12 years as a high class call girl) Fletcher Carrie Hopes was not even going to be performing. I would never have normally booked for an out of season Panto without that dishy Nigel Havers, but Pandora simply adores Fletcher after following him on Tiktweetgram. I would like a full refund and the phone numbers of those gentlemen in leather please. Yours Henrietta Barrington Smythe This is why they should make clear any planned absences. As well as for the people who want to see the alternate! I know there will always be last minute changes but if someone never does Wednesdays or has the first week of November booked as leave make it known, make it positive!
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