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Post by Steve on Jun 20, 2022 19:37:53 GMT
Poor Maria Friedman got Covid on Day 1 of 6 days of rehearsals, and had to direct the whole thing by zoom!
And when I say directed, I mean DIRECTED, because this is not a concert, but pretty much a fully choreographed show lol.
John Partridge is a bit hoarse, and lacks the deepest bass notes, but he and his dangerous pink rimmed glasses make up for this with an immense infusion of impishness and passion, and he plays off the others beautifully.
This show is about release, about letting go, and Partridge is terrific at letting loose, as is the whole ensemble!
Claire Moore and the ensemble were riotous during "Dirty Laundry," the song which unbelievably had a fully choreographed dancing ensemble.
Carrie Hope Fletcher's mellifluous voice was delicious and delicate and full in the chorus of "Words words words," which began slowly, but hit full wicked patter by the end.
The highlights so far though we're an explosion of a "Waiting for the music to begin" by Laura Pitt-Pulford, imbued with so much longing and desire that I was frozen; and the tenderest dreamiest start to "I wish I may" that I could possibly imagine, with Pitt-Pulford's emotionalism combining with CH. . .
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Post by Seriously on Jun 20, 2022 19:50:32 GMT
Nice review!!!
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Post by ceebee on Jun 20, 2022 21:08:43 GMT
Agree with Steve. I thought John Partridge was superb as Darryl, and off-script too (though there were plenty of prompt screens) unlike some of the cast. First half was superb, second half a little loose (unsurprisingly). Loved all three ladies who blended harmonies really well and looked properly hot as they vied for Darryl's attention. I like CHF - she gets a lot of flak off some on this board, but she hit the notes (in the right order too, Rodney) and her patter was equal to Maria Friedman's all those years ago. Laura Pitt-Pulford was sensational in my opinion, and Natasha J Barnes was great as Alexandra. Enjoyed Nathan Amzi as the henpecked Clyde and thought Claire Moore was excellent as Felicia. As for Alfie Friedman... well, what a great voice and characterisation. Thought he was really good and look forward to seeing more of him. Strong ensemble and the GSA choir really filled out the big numbers, along with the orchestra which shook the building to the rafters (along with the thunderclaps)! Lovely to see Dana P Rowe take a bow too. All in all, a lovely evening of nostalgia for a great show.
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Post by matty on Jun 20, 2022 21:24:19 GMT
I hope someone from Lambert Jackson was in the audience to get some tips because that is how you put on a concert performance.
Agree with what other commentators above have said. Loved John P as Daryl and Carrie, Natasha and Laura were great as the witches. Carrie really impressed me with her vocals tonight, they were the strongest I've heard in a while!
The fact that they'd only had 6 days if rehearsals definitely didn't show.
With this and Bonnie & Clyde earlier in the year, future concert performances have a high bar to meet!
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Post by westendcub on Jun 20, 2022 21:56:28 GMT
Did they do ‘Loose Ends’??
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5,817 posts
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Post by mrbarnaby on Jun 20, 2022 22:01:48 GMT
Poor Maria Friedman got Covid on Day 1 of 6 days of rehearsals, and had to direct the whole thing by zoom! And when I say directed, I mean DIRECTED, because this is not a concert, but pretty much a fully choreographed show lol. John Partridge is a bit hoarse, and lacks the deepest bass notes, but he and his dangerous pink rimmed glasses make up for this with an immense infusion of impishness and passion, and he plays off the others beautifully. This show is about release, about letting go, and Partridge is terrific at letting loose, as is the whole ensemble! Claire Moore and the ensemble were riotous during "Dirty Laundry," the song which unbelievably had a fully choreographed dancing ensemble. Carrie Hope Fletcher's mellifluous voice was delicious and delicate and full in the chorus of "Words words words," which began slowly, but hit full wicked patter by the end. The highlights so far though we're an explosion of a "Waiting for the music to begin" by Laura Pitt-Pulford, imbued with so much longing and desire that I was frozen; and the tenderest dreamiest start to "I wish I may" that I could possibly imagine, with Pitt-Pulford's emotionalism combining with CH. . . My my, you are giddy with delight ! Your words spring forth like a new born foal chasing a butterfly in the dappled light of summer |
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Post by Peter on Jun 20, 2022 22:10:07 GMT
Did they do ‘Loose Ends’?? Maria Friedman did it as an encore, with Carrie Hope Fletcher, and accompanied by composer Dana P Rowe. Such a fantastic evening all round, will try to gather some thoughts for later… |
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Post by partytentdown on Jun 20, 2022 22:36:47 GMT
I haven't seen it live for many years and I enjoyed tonight very much, but it seemed like almost every lyric had been changed from the cast recording I know and love! Was this done for tonight or at some point since the original production?
Pleasantly surprised by Partridge, nailed the humour in a rather more camp interpretation than previous portrayals. Also enjoyed Carrie H-F, not usually my cup of tea but she did a good job, as did the rest of the leads. I was a little sad that none of the original cast got a mention or shout-out in the speech before or after the show... It became very much about Maria and it was lovely to see her so happy about it, but the original production was much more than just her. But a fun time was had by all.
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Post by mrbarnaby on Jun 20, 2022 22:40:24 GMT
Jo Riding stole the original production. Everyone knows it.. 😎
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Post by Joseph Buquet on Jun 20, 2022 23:13:09 GMT
It was a superb evening, with a wonderful cast and orchestra. To put together what was much more than a concert after rehearsing it for only six days was extremely impressive. Composer Dana P Rowe seemed genuinely touched at the end.
It’s just a shame that the concert was written-off by so many people on here, before it had even happened - you missed out…
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Post by Being Alive on Jun 21, 2022 0:06:38 GMT
I went into this knowing the show quite well (never seen it on stage but know the cast recording very well) and expecting to come away a little disappointed due to the short rehearsal process and the fact half the leads changed a week ago due to Covid... I need not have worried.
As we saw at the Sondheim gala, Maria Freidman doesn't do concert productions, she does full blown shows and this was no exception. Fully choreographed numbers, costumes, bits of set - I've seen less set and staging in proper full blown musicals than we had in this! Perfectly pitched.
The cast largely were spot on.
I'm not sure I was entirely convinced by John Partridge until part way through Act 2 - I'm just not sure he's right for the part (but he was less wrong for it then Giles Terera would have been so like, coulda been worse) - but he did end up having the right split of malice and charm.
The Witches themselves were uniformly excellent.
I was sad not to see Danielle Steers as I think her voice would have really added something to those trio numbers, but Natasha Barnes did a great job as Alex and got the dry humour really well.
This was easily the best performance I've seen Carrie give - she played nervous very well as I imagine she really was (until she got to the end of Words Words Words) and she sang up a storm.
The night did belong to Laura Pitt-Pulford though, who's Jane Smart would be awards worthy in a full production. She's such a phenomenal talent, with a voice like very few others, and she plays timid so well and then BAM she pulls out Waiting For The Music To Begin and walks away with the show. Of the three, she's the only one I'd take forward into a full production (the other two for me are a touch too young).
Claire Moore was good as Felicia, but I think I just don't understand the hype on her as I've been disappointed in her in everything I've seen her in, but she got the right side of manic for me.
Alfie Freidman (nepotism at its finest?) and Chrissie Bhima were fine as Michael and Jennifer but nothing more really...
Maria coming out to sing Loose Ends at the end was entirely unnecessary but also entirely expected, and she was good (as was Carrie singing with her).
I really did have a great evening (one of the highlights of my year so far) and SURELY now we can have a revival of the show - I think it'd work one a small scale (I don't want it at The Other Palace but I'd take it if it was all that was on offer! - would do well in the Criterion for me...)
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Post by BurlyBeaR on Jun 21, 2022 4:02:24 GMT
Did they fly?
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Post by mrbarnaby on Jun 21, 2022 5:38:27 GMT
So the amazing set everyone is taking about was 3 picket fences?
Glad to hear it was good in the end.. and even better that it appears Cameron didn’t turn up and make it all about him.
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Post by lonlad on Jun 21, 2022 6:11:48 GMT
Cameron couldn't have made it about him given that he didn't produce this version (Jack Maple did, and was everywhere apparent, looking very smart as if he'd stepped out of a Noel Coward play). The show as a whole was extremely slick and professional and Maria, yes, DID manage to make it all about her but hey ho. The three ladies were in terrific voice (CHF especially, and also the most nuanced singer of the three by some measure) if all a bit samey -- one missed the distinctiveness to that inimitable first trio of Jo, Lucie, and MF herself. Partridge was beyond camp and actually quite smarmy/creepy/unpleasant: when he dismisses the women as "bitches" at the end, the remark seems to unleash a misogyny to the material that I didn't remember from Mr McShane, who of course couldn't really sing it as we know -- someday this show will get a Darryl who can do the role justice but, weirdly, that has yet to happen: such a shame Kevin Kline never agreed to it originally, he'd have been perfect 22 years ago (but not now obviously). Some of the supporting performances last night were insanely OTT as if those people thought they'd never play these parts again - which perhaps they won't, to be fair. Fewer celebs in the house than had been expected but nice to see a recent Tony winner there to cheer on his wife.
The score remains a marvel.
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Post by partytentdown on Jun 21, 2022 7:13:11 GMT
They did, though it was a bit of a token gesture (up and down on a very obvious harness) but it gave you the idea. |
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Post by partytentdown on Jun 21, 2022 7:14:17 GMT
So the amazing set everyone is taking about was 3 picket fences? Glad to hear it was good in the end.. and even better that it appears Cameron didn’t turn up and make it all about him. Yes, I'm not sure where all this praise for the set came from, it was three picket fences, a few chairs and some leftover side bits of revolutionary France... |
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Post by actorsinger on Jun 21, 2022 7:39:09 GMT
Cameron couldn't have made it about him given that he didn't produce this version (Jack Maple did, and was everywhere apparent, looking very smart as if he'd stepped out of a Noel Coward play). The show as a whole was extremely slick and professional and Maria, yes, DID manage to make it all about her but hey ho. The three ladies were in terrific voice (CHF especially, and also the most nuanced singer of the three by some measure) if all a bit samey -- one missed the distinctiveness to that inimitable first trio of Jo, Lucie, and MF herself. Partridge was beyond camp and actually quite smarmy/creepy/unpleasant: when he dismisses the women as "bitches" at the end, the remark seems to unleash a misogyny to the material that I didn't remember from Mr McShane, who of course couldn't really sing it as we know -- someday this show will get a Darryl who can do the role justice but, weirdly, that has yet to happen: such a shame Kevin Kline never agreed to it originally, he'd have been perfect 22 years ago (but not now obviously). Some of the supporting performances last night were insanely OTT as if those people thought they'd never play these parts again - which perhaps they won't, to be fair. Fewer celebs in the house than had been expected but nice to see a recent Tony winner there to cheer on his wife. The score remains a marvel. Did you see Clarke Peters in this role? He did it more than justice. He was perfection. |
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Post by ceebee on Jun 21, 2022 8:32:47 GMT
Cameron couldn't have made it about him given that he didn't produce this version (Jack Maple did, and was everywhere apparent, looking very smart as if he'd stepped out of a Noel Coward play). The show as a whole was extremely slick and professional and Maria, yes, DID manage to make it all about her but hey ho. The three ladies were in terrific voice (CHF especially, and also the most nuanced singer of the three by some measure) if all a bit samey -- one missed the distinctiveness to that inimitable first trio of Jo, Lucie, and MF herself. Partridge was beyond camp and actually quite smarmy/creepy/unpleasant: when he dismisses the women as "bitches" at the end, the remark seems to unleash a misogyny to the material that I didn't remember from Mr McShane, who of course couldn't really sing it as we know -- someday this show will get a Darryl who can do the role justice but, weirdly, that has yet to happen: such a shame Kevin Kline never agreed to it originally, he'd have been perfect 22 years ago (but not now obviously). Some of the supporting performances last night were insanely OTT as if those people thought they'd never play these parts again - which perhaps they won't, to be fair. Fewer celebs in the house than had been expected but nice to see a recent Tony winner there to cheer on his wife. The score remains a marvel. Did you see Clarke Peters in this role? He did it more than justice. He was perfection. Yes, Clarke Peters was excellent. To address another point earlier in the thread, I think John P played the role well - its a tough role in the current climate (the world has changed a lot in 22 years); the "bitches" line I think is meant to convey his anger rather than misogyny, and it jarred last night as it did 22 years ago. Was it me or was there much more use of the "f" word last night? I don't remember so much swearing in the original version. |
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Post by FrontroverPaul on Jun 21, 2022 9:06:04 GMT
The f word was much less acceptable in polite society when Witches Of Eastwick was originally staged . I didn't see the original but don't remember it in the touring production with Marti Pellow nor in the amateur version I saw in Horsham a few years ago.
Was anyone else in the front part of the stalls and aware of the man with the excessive loud snorting laugh often at inappropriate moments ? He was in row C directly behind me. He was escorted to and from his seat by an usher so it was probably beyond his control and I'm glad he enjoyed the show so much but it was jarring.
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Post by lonlad on Jun 21, 2022 9:16:53 GMT
>> the "bitches" line I think is meant to convey his anger rather than misogyny, and it jarred last night as it did 22 years ago.
Exactly right but it played as misogynistic as did Partridge's entire performance -- you couldnt fathom for a single moment why he was interested in any of those women ..... all the swearing just seemed silly. The musical wasn't written by David Mamet.
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Post by Someone in a tree on Jun 21, 2022 13:34:35 GMT
The less said about MF's speech and attempt at singing the better.
The casting of the two male leads could of been much stronger, here they gave serviceable performances.
Generally really liked it. Didn't know what to expect from Carrie (as never seen her before and I've read she's the anti Christ) but thought she was great. Also, loved Laura PP.
Thought the person who played Brenda was brilliant.
The show has such an amazing score and I'd love to see another production of it.
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Post by shownut on Jun 21, 2022 15:31:59 GMT
The f word was much less acceptable in polite society when Witches Of Eastwick was originally staged . I didn't see the original but don't remember it in the touring production with Marti Pellow nor in the amateur version I saw in Horsham a few years ago. Was anyone else in the front part of the stalls and aware of the man with the excessive loud snorting laugh often at inappropriate moments ? He was in row C directly behind me. He was escorted to and from his seat by an usher so it was probably beyond his control and I'm glad he enjoyed the show so much but it was jarring. I was sat right in front of him and yes, very annoying. He had a walking stick so think he may have been blind but still...rotten etiquette. |
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Post by BurlyBeaR on Jun 21, 2022 15:41:16 GMT
There were a lot of you lot in last night! Should have had a board meet!
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Post by FrontroverPaul on Jun 21, 2022 15:55:00 GMT
The f word was much less acceptable in polite society when Witches Of Eastwick was originally staged . I didn't see the original but don't remember it in the touring production with Marti Pellow nor in the amateur version I saw in Horsham a few years ago. Was anyone else in the front part of the stalls and aware of the man with the excessive loud snorting laugh often at inappropriate moments ? He was in row C directly behind me. He was escorted to and from his seat by an usher so it was probably beyond his control and I'm glad he enjoyed the show so much but it was jarring. I was sat right in front of him and yes, very annoying. He had a walking stick so think he may have been blind but still...rotten etiquette. You weren't the lady next to me I spoke to - with friends celebrating your birthday by any chance ? |
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Post by BurlyBeaR on Jun 21, 2022 17:09:32 GMT
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