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Post by FrontrowverPaul on Nov 27, 2019 13:13:14 GMT
Two intervals is annoying - is there any reason for this? I get bored in intervals as it is, having to kill time on my phone for 20 minutes, let alone two of them! Each interval is no more than 15 minutes, on Monday about half the audience left the auditorium for the first break but only about a quarter for the second interval. Act two is very short and I also felt that the first two acts could be combined. The scene change between acts 1 and 2 only took a few minutes and could easily be covered by the musicians. Started at 20.02 and finished at 22.25. The show itself is light as a feather, glorious to look at and beautiful to listen to. Nothing much happens but the whole cast are superb and I absolutely loved it ! I had row A seat 36 which gave a perfect view and sound throughout. |
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Post by robertb213 on Nov 27, 2019 13:22:28 GMT
All good to know, thank you. I'll be booking soon, I need to plan the next few months and work out what I'm seeing and when 😀
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1,351 posts
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Post by CG on the loose on Nov 27, 2019 15:08:46 GMT
Two intervals is annoying - is there any reason for this? I get bored in intervals as it is, having to kill time on my phone for 20 minutes, let alone two of them! Each interval is no more than 15 minutes, on Monday about half the audience left the auditorium for the first break but only about a quarter for the second interval. Act two is very short and I also felt that the first two acts could be combined. The scene change between acts 1 and 2 only took a few minutes and could easily be covered by the musicians. Started at 20.02 and finished at 22.25. The show itself is light as a feather, glorious to look at and beautiful to listen to. Nothing much happens but the whole cast are superb and I absolutely loved it ! I had row A seat 36 which gave a perfect view and sound throughout. Thanks for all of this... especially the seat review as that is where I shall be sitting in January  |
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8,162 posts
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Post by alece10 on Nov 27, 2019 16:30:35 GMT
Just saw the production pics. Set and costumes look gorgeous.
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Post by juicy_but_terribly_drab on Nov 27, 2019 22:39:20 GMT
The seating is on two sides. So which is the front? Or do you mean towards the join of the two sides? Sit as near to to rhe crack as to you can Would you say the partial restricted view seats are worth it? Do you know what might make them restricted (especially C31)? |
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Post by Deleted on Nov 27, 2019 23:52:49 GMT
I saw this tonight and enjoyed it. There's very little plot, every character is practically a caricature and there are way too many reprises, but its a lot of fun and the songs are all infectious. I've not seen it since the Open Air Theatre production and don't need to see it again for about as long, but it's definitely worth the visit.
The women fare far better than the men, only the actor playing Bobby and Ade Edmondson making an impact from the male roles, but the actresses playing Polly and Maisie are great, as are Tiffany Graves and Janie Dee. Won't You Charleston With Me was the best number, with fantastic dancing to match.
The show certainly doesn't need both intervals, it could use some cutting and the 8pm start is not great, but definitely recommended.
Now i just need to get 'I Could Be Happy With You' out of my head...
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Post by Someone in a tree on Nov 28, 2019 7:45:16 GMT
Isn't the 8 pm kick off so punters can eat in the restaurant first? And the restaurant funds the theatre.
Although, many other people accross the land dine pre theatre and the start time is generally 7.30
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3,351 posts
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Post by Dr Tom on Nov 28, 2019 8:22:04 GMT
My thoughts from last night are that this is a charming production, although there really isn't much there.
It is very traditional in style, lots of singing and dancing, wafer-thin predictable plot. The cast have largely been chosen for their looks.
There would be an excellent 90 minute one act show in there (maybe 100 minutes). The way it's presented, the stop-start with two intervals is very distracting, with the first act only lasting about 30 minutes. The show finished last night at 10:20pm. Many of the songs have a round of applause, then are reprieved, then have a second round of applause.
The dancing for this one is of a high standard, including a tap routine. Several alumni from 42nd Street are in the cast. Having seen Jack Butterworth multiple times in Hamilton, I was impressed here by how well he can sing and dance in a more traditional production, very fluid. Janie Dee is as excellent as you'd expect. Adrian Edmondson had the crowd laughing loudly even before he did anything. And, I hadn't paid much attention to who was in the show, so it was a treat to see Tom Bales fresh off the Hair 50 tour (and in a pirate costume).
Like many I left in the first interval, but couldn't be doing with the disruption for the second interval, so just stayed in my seat.
For seating, I was in the centre of the front row, low numbers side. Probably the prime place to sit, as the action is played towards the centre of both sides (the aisle in between I imagine would be one of the worst places, as you'd very little action directed towards you). I thought the low numbered side got more of the action that the high numbered side, but I don't have that much to compare it with. There are no divides in the seats being people, so do get there early if you want to avoid someone taking up half your space.
I enjoyed it and liked the music, so I may well look to go back. It is only the two intervals that puts me off.
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Post by dazzerlump on Nov 28, 2019 12:54:51 GMT
I’m quite surprised they are doing the 2 intervals. I’ve played Bobby in a production and we just joined act 1 and 2 together. Looking at the photos so far there doesn’t seem to me much set that couldn’t have just been changed during the hustle and bustle of the start or Sur Le Plage
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Post by Deleted on Nov 28, 2019 12:58:15 GMT
Tom Bales fresh off the Hair 50 tour (and in a pirate costume). He was wearing the unfortunate paisley print tights. he came off worst in the ball costumes! |
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Post by nick on Nov 28, 2019 18:35:17 GMT
The seating is on two sides. So which is the front? Or do you mean towards the join of the two sides? Sit as near to to rhe crack as to you can Thank you. |
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4,993 posts
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Post by Someone in a tree on Nov 28, 2019 18:38:21 GMT
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Post by Boob on Nov 29, 2019 23:53:09 GMT
The two intervals are the least of its problems. I actually didn’t mind them, as it gave more breaks from the weak acting and bad singing. This show doesn’t feel as though it’s settled into its skin yet. I yearned for the pure joy of the Regent’s Park production a few years ago. Lovely dancing/choreography here though. Not much else to recommend.
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Post by tmesis on Nov 30, 2019 19:12:48 GMT
I thought this a very classy production of a very slight show. Mainly because the plot is so silly but it does have some top-notch, extremely melodic songs. The lyrics are never quite witty enough and some of the rhymes are quite appropriate (something that would be an anathema to Sondheim.) It is though extremely enjoyable and lovely to look at. The layout of the seating - similar to that used in The Bridges of Madison County is, I think, ideal to maximise the space and gives the illusion of it being a bigger production than usual at this venue.
An absolutely cracking band with exemplary sound balance.
Janie Dee was as fabulous as ever and Adrian Edmonson was pretty good - way better than I anticipated with a pleasant voice.
Definitely recommended - I might go again...
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Post by carriesparkle on Dec 2, 2019 21:33:34 GMT
Enjoyed this on Saturday matinee. The restricted view seats by the pillar in Row B are absolutely fine - right by the band, which is interesting, and you're next to the aisle where some cast make entrances. You miss a tiny bit of a couple of set pieces but nothing else.
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Post by juicy_but_terribly_drab on Dec 2, 2019 22:31:39 GMT
Enjoyed this on Saturday matinee. The restricted view seats by the pillar in Row B are absolutely fine - right by the band, which is interesting, and you're next to the aisle where some cast make entrances. You miss a tiny bit of a couple of set pieces but nothing else. Is that B3 then? I've been trying to decide which restricted view seats would be best. |
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Post by carriesparkle on Dec 3, 2019 8:18:45 GMT
Enjoyed this on Saturday matinee. The restricted view seats by the pillar in Row B are absolutely fine - right by the band, which is interesting, and you're next to the aisle where some cast make entrances. You miss a tiny bit of a couple of set pieces but nothing else. Is that B3 then? I've been trying to decide which restricted view seats would be best. Yes, B3 and B4. |
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Post by juicy_but_terribly_drab on Dec 3, 2019 8:31:31 GMT
Is that B3 then? I've been trying to decide which restricted view seats would be best. Yes, B3 and B4. Thanks I'll probably book them then. |
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Post by frankubelik on Dec 3, 2019 12:48:12 GMT
A largely super fun production thanks to Matthew White with the ensemble thankfully very on point with Tiffany Graves and Gabrielle Lewis-Dodson outstanding. The Polly needs to work on her diction and I found her a little clunky. Sadly the great energy was completely dissipated with the arrival of Ms Dee who seemed to play Madame Dubonnet like a great classical role, slowing the pace and failed to land the laughs - disappointing. The rest was hugely enjoyable and elicited grins all round. Lovely.
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Post by alece10 on Dec 4, 2019 0:00:50 GMT
Just got back from seeing this. What a total joy. Had a smile on my face from start to finish.
Set is really lovely, all Mediterranean and blue. Love he costumes too. - See I am even trying to rhyme like the songs.
Top cast with great singing and dancing from everyone.
The thing that makes the show is the music. So many great songs and I dare you not to leave humming one or two of the songs.
Its very old fashioned and the dialogue is very, very funny. I am sure some of the lines we found funny tonight were not originally intended to be funny when the show first came out. Janie Dee talking about "his little percy".
One highlight for me was seeing Tiffany Graves on the stage again. We don't see nearly enough of her and Adrian Edmonson was so funny.
I liked all the little reprises of the songs and it has a great overture which, as I have mentioned before, you don't seem to get these days.
Band were brilliant and stay till the end for the exit music. They are on full view this time rather than hid away behind a screen.
Hope the critics like it as its just pure tongue in cheek fun and lovely songs that they don't write anymore.
Its just what we need right now.
Oh and its camp as a row of tents.
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Post by lonlad on Dec 4, 2019 0:23:47 GMT
Saw it tonight and thought it began well and then fell way pretty sharpish. Most of the men can't begin to sing what little they have to do, aside from the young male lead, and the featherweight plot all but evaporates come a third act which really just runs in place. Adrian Edmondson is the best thing in it -- give the man an Olivier already! Tiffany Graves is funny but works VERY hard. (And did anyone notice how short the male ensemble is -- noticeably so, which was interesting.)
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Post by theoracle on Dec 5, 2019 21:46:54 GMT
So I saw this last night and... I LOVED IT. One of the biggest highlights of the year for me and the last musical I'm seeing this decade. Amara Okereke is a star in the show as Polly Browne but I also tip my hat off to Gabrielle Lewis-Dodson, Jack Butterworth, Tiffany Graves and Dylan Mason. The choreography is a true delight, sitting on the front row, I actually felt the vibrations from the tapping and leaping, it was truly breathtaking. I went in with a low mood after a stressful day but walking into the auditorium and seeing that light blue set, I began to smile.
I must say I'm not terribly impressed with the reviews I've been reading discussing the thin plot. This is a musical from the 1920s, its purposely frivolous and this production takes pride in the madness of the situation. Still there is a real sincerity to the characters and you get a sense of the characters laughing at themselves particularly towards the end. Its a show that really cheers you up and with the rise of shows with more of an agenda, this was truly refreshing.
I was hoping to stage door for this production but couldn't seem to find it, has anyone tried greeting the cast by any chance as I was hoping to meet Janie Dee?
Lastly, I just watched WoS' Opening night video and lolled at Adrian Edmondson's "its a proper musical, the characters fall in love inside the song. It's not they fall in love and then they sing Britney Spears!... the SHADE!
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Post by Dr Tom on Dec 6, 2019 9:56:21 GMT
This is a musical from the 1920s, its purposely frivolous and this production takes pride in the madness of the situation. First performed in 1953 I believe, although it's set earlier and lightly pokes fun at the 1920s style of musical. |
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Post by Mark on Dec 6, 2019 13:08:37 GMT
Can anyone who's been describe what the "partial restriction in D/E 23/24 would be? I remember it's the same layout as Bridges but can't remember what the deal is with those seats.
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Post by alece10 on Dec 6, 2019 14:22:51 GMT
Can anyone who's been describe what the "partial restriction in D/E 23/24 would be? I remember it's the same layout as Bridges but can't remember what the deal is with those seats. Probably a pillar but don't think it would cause many problems at all to be honest. |
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