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Chess
May 14, 2018 0:09:09 GMT
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Post by squidward on May 14, 2018 0:09:09 GMT
Actress/singer Cassidy Janson, who has led in small musicals and covered in larger ones, is Florence Vassy.
Would you consider playing the lead in ‘Beautiful’ for the lion’s share of the run at The Aldwych Theatre a small musical ? Also CJ went on as Elphaba in’Wicked’ numerous times during the Mendel/ Ellis period.
She’s an incredibly gifted performer who I think is pretty much wasted in this messy production.
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Post by sf on May 14, 2018 0:20:31 GMT
Actress/singer Cassidy Janson, who has led in small musicals and covered in larger ones, is Florence Vassy. Would you consider playing the lead in ‘Beautiful’ for the lion’s share of the run at The Aldwych Theatre a small musical ? Also CJ went on as Elphaba in’Wicked’ numerous times during the Mendel/ Ellis period. She’s an incredibly gifted performer who I think is pretty much wasted in this messy production. I think she's very talented, I think she has a great voice, I think she sang the hell out of 'Nobody's Side' - and I also think Laurence Connor's direction doesn't do her any favours (it doesn't do anybody any favours, but that's par for the course in a Laurence Connor show - he's far better at delivering big stage pictures than at getting nuanced performances out of his actors), and that this production was clearly designed as a vehicle for a certain kind of star, and she simply isn't that kind of performer. I think the production was conceived as a vehicle for charismatic STARS with limited acting experience, and when they couldn't sign whoever they were after they went out and hired good musical theatre actors. To be fair to her, there are (several) other versions of this particular show that would give her more to work with. |
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Chess
May 14, 2018 0:59:15 GMT
Post by djp on May 14, 2018 0:59:15 GMT
Actress/singer Cassidy Janson, who has led in small musicals and covered in larger ones, is Florence Vassy. Would you consider playing the lead in ‘Beautiful’ for the lion’s share of the run at The Aldwych Theatre a small musical ? Also CJ went on as Elphaba in’Wicked’ numerous times during the Mendel/ Ellis period. She’s an incredibly gifted performer who I think is pretty much wasted in this messy production. I think she's very talented, I think she has a great voice, I think she sang the hell out of 'Nobody's Side' - and I also think Laurence Connor's direction doesn't do her any favours (it doesn't do anybody any favours, but that's par for the course in a Laurence Connor show - he's far better at delivering big stage pictures than at getting nuanced performances out of his actors), and that this production was clearly designed as a vehicle for a certain kind of star, and she simply isn't that kind of performer. I think the production was conceived as a vehicle for charismatic STARS with limited acting experience, and when they couldn't sign whoever they were after they went out and hired good musical theatre actors. To be fair to her, there are (several) other versions of this particular show that would give her more to work with. Difficult to see how you could be charismatic in a role without being able to sing it , or act it.Look at Chicago. If you mean Ball fans would turn up to him gargling in the bathroom, at any price , you may be right, but I doubt if anyone much had heard of the other leading members of the cast apart from Alexandra. And the common idea that significant numbers of people will pay £50-175 just to see someone from X factor or Corrie makes little sense at the best of times - £150-175 pound prices at the ENO are not aimed at X Factor fans. And its not true that the ENO has pitched all its previous musicals this way. Sweeney could have had a better actor as male lead, but the name and vocal was big, and he was supported by some top names from musical theatre and acting. Sunset Boulevard had a big star with a successful record in the role, who wowed audiences , backed up by some supporting leads who were as good as any, and in some cases according to ALW the best he had cast in the role. |
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Post by sf on May 14, 2018 1:18:57 GMT
I think she's very talented, I think she has a great voice, I think she sang the hell out of 'Nobody's Side' - and I also think Laurence Connor's direction doesn't do her any favours (it doesn't do anybody any favours, but that's par for the course in a Laurence Connor show - he's far better at delivering big stage pictures than at getting nuanced performances out of his actors), and that this production was clearly designed as a vehicle for a certain kind of star, and she simply isn't that kind of performer. I think the production was conceived as a vehicle for charismatic STARS with limited acting experience, and when they couldn't sign whoever they were after they went out and hired good musical theatre actors. To be fair to her, there are (several) other versions of this particular show that would give her more to work with. Difficult to see how you could be charismatic in a role without being able to sing it , or act it.Look at Chicago. If you mean Ball fans would turn up to him gargling in the bathroom, at any price , you may be right, but I doubt if anyone much had heard of the other leading members of the cast apart from Alexandra. And the common idea that significant numbers of people will pay £50-175 just to see someone from X factor or Corrie makes little sense at the best of times - £150-175 pound prices at the ENO are not aimed at X Factor fans. And its not true that the ENO has pitched all its previous musicals this way. Sweeney could have had a better actor as male lead, but the name and vocal was big, and he was supported by some top names from musical theatre and acting. Sunset Boulevard had a big star with a successful record in the role, who wowed audiences , backed up by some supporting leads who were as good as any, and in some cases according to ALW the best he had cast in the role. I didn't suggest they were looking for someone who couldn't sing, and I also, in the post you're quoting, said nothing about Michael Ball, and for the record I thought he was the only one of the production's leads who gave a completely successful performance. I suggested the production appears to have been designed to support a certain kind of star - basically, people who are famous in other media (film, TV, music), but who have limited stage acting experience. I don't think they were looking for someone from X-Factor or Corrie (they've got someone from X-Factor in the show - that was their fallback casting). I think they were looking for A-list names. In terms of selling tickets, the ENO absolutely has followed a pattern with these big musicals, in that until Chess they'd all got at least one star in place when booking opened. This time they didn't, which strongly suggests they were pursuing names who ended up turning it down. The producers will know as well as anyone how many very expensive tickets they have to sell, and the point of these shows is to make a pile of money, and quickly. Scarlett Johansson as Florence (I'm not suggesting they were looking for her, but that level of name) will sell a ton of tickets. That kind of star turns a production into a must-see event. Compare the rush to the box office the day public booking opened for Sunset Boulevard with the slow drip of ticket sales for this. Clearly they were aiming for bigger names - and bigger names even than Michael Ball (the producers didn't even approach him for it - he approached them, according to an interview someone posted further up this thread), because with all due respect to Cassidy Janson and Tim Howar, their names are not going to shift very many £150 stalls seats. To put together a production that needs to sell hundreds of seats priced at £100 or above at every performance in order to turn a profit and cast relative unknowns in two of the four leads is very, very bad producing unless you've got a Glenn Close-level film star billed above the title. They haven't. |
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1,972 posts
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Chess
May 14, 2018 1:22:20 GMT
Post by sf on May 14, 2018 1:22:20 GMT
Sunset Boulevard had a big star with a successful record in the role, who wowed audiences , backed up by some supporting leads who were as good as any, and in some cases according to ALW the best he had cast in the role. Re: Lloyd Webber's opinion of those supporting performers in Sunset Boulevard - while the show is running, and when it's transferring to Broadway for a much longer run that it had in London, he's hardly going to say anything negative about those performers, is he? His public evaluation of their performances shouldn't be taken as gospel. He's a businessman, and probably a businessman first. He is hardly going to trash his own product. |
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617 posts
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Chess
May 14, 2018 10:23:45 GMT
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Post by loureviews on May 14, 2018 10:23:45 GMT
You're wrong about this being the concept album song order. It isn't. Pity The Child moved a long time ago. |
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Chess
May 14, 2018 10:25:03 GMT
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Post by loureviews on May 14, 2018 10:25:03 GMT
Actress/singer Cassidy Janson, who has led in small musicals and covered in larger ones, is Florence Vassy. Would you consider playing the lead in ‘Beautiful’ for the lion’s share of the run at The Aldwych Theatre a small musical ? Also CJ went on as Elphaba in’Wicked’ numerous times during the Mendel/ Ellis period. She’s an incredibly gifted performer who I think is pretty much wasted in this messy production. She was not the regular lead in either. I think she's very talented but my description of her is accurate IMO |
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Chess
May 14, 2018 11:11:51 GMT
Post by sf on May 14, 2018 11:11:51 GMT
You're wrong about this being the concept album song order. It isn't. Pity The Child moved a long time ago. No I'm not. It is exactly the concept album order. I have the concept album in front of me - not that I needed it, because I've been listening to it since 1984. Pity the Child was in the first act in the original London production. On the concept album it has always been where it is in the ENO production: between The Deal and Endgame. |
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617 posts
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Chess
May 14, 2018 11:17:22 GMT
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Post by loureviews on May 14, 2018 11:17:22 GMT
No need to get crabby. You're right and I was having a brain fog.
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139 posts
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Chess
May 14, 2018 11:19:59 GMT
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Post by Joseph Buquet on May 14, 2018 11:19:59 GMT
Actress/singer Cassidy Janson, who has led in small musicals and covered in larger ones, is Florence Vassy. Would you consider playing the lead in ‘Beautiful’ for the lion’s share of the run at The Aldwych Theatre a small musical ? Also CJ went on as Elphaba in’Wicked’ numerous times during the Mendel/ Ellis period. She’s an incredibly gifted performer who I think is pretty much wasted in this messy production. She was not the regular lead in either. I think she's very talented but my description of her is accurate IMO In what way was she not the regular lead in Beautiful? |
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Chess
May 14, 2018 11:40:18 GMT
Post by bren on May 14, 2018 11:40:18 GMT
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Post by sf on May 14, 2018 11:46:35 GMT
No need to get crabby. You're right and I was having a brain fog. When you start with "you're wrong" and I'm not, how am I supposed to respond? By massaging your ego? |
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617 posts
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Chess
May 14, 2018 13:20:02 GMT
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Post by loureviews on May 14, 2018 13:20:02 GMT
Grow up.
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Post by steve10086 on May 14, 2018 13:58:33 GMT
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Post by CG on the loose on May 14, 2018 14:18:41 GMT
Actress/singer Cassidy Janson, who has led in small musicals and covered in larger ones, is Florence Vassy. Would you consider playing the lead in ‘Beautiful’ for the lion’s share of the run at The Aldwych Theatre a small musical ? Also CJ went on as Elphaba in’Wicked’ numerous times during the Mendel/ Ellis period. She’s an incredibly gifted performer who I think is pretty much wasted in this messy production. She was not the regular lead in either. I think she's very talented but my description of her is accurate IMO She took over the lead from Katie Brayben in November 2016 and played it until the West End production closed in August 2017. In what way is that not 'regular'? |
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Chess
May 14, 2018 14:48:52 GMT
Post by wickedgrin on May 14, 2018 14:48:52 GMT
So... I may be wrong but I think a bit of dynamic pricing has kicked in here - downwards. Just checked the ENO website for this - loads of availability of course - and the prices (in the week) are now Stalls £125/£75 (weren't they £150?) Dress £125/£75/£65 (again weren't they £150?)and Upper Circle £65/£50/£35 (weren't they £80?) Still £150 at the weekend though, but I thought the £150 top price was throughout the run! I think I am going mad!
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Chess
May 14, 2018 15:15:45 GMT
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Post by richey on May 14, 2018 15:15:45 GMT
So... I may be wrong but I think a bit of dynamic pricing has kicked in here - downwards. Just checked the ENO website for this - loads of availability of course - and the prices (in the week) are now Stalls £125/£75 (weren't they £150?) Dress £125/£75/£65 (again weren't they £150?)and Upper Circle £65/£50/£35 (weren't they £80?) Still £150 at the weekend though, but I thought the £150 top price was throughout the run! I think I am going mad! The upper circle was £50 when I bought mine a few weeks ago |
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Chess
May 14, 2018 15:49:43 GMT
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Post by alece10 on May 14, 2018 15:49:43 GMT
So... I may be wrong but I think a bit of dynamic pricing has kicked in here - downwards. Just checked the ENO website for this - loads of availability of course - and the prices (in the week) are now Stalls £125/£75 (weren't they £150?) Dress £125/£75/£65 (again weren't they £150?)and Upper Circle £65/£50/£35 (weren't they £80?) Still £150 at the weekend though, but I thought the £150 top price was throughout the run! I think I am going mad! The upper circle was £50 when I bought mine a few weeks ago Stalls were £75 and £125 when I booked a few months ago for Mon to Thur and £150 Fri and Sat |
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Chess
May 14, 2018 16:13:53 GMT
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Post by ceebee on May 14, 2018 16:13:53 GMT
Dress Circle £22 Saturday night. I quite enjoyed it - less so the carping and bit**ing from people around me who just LOVED the sound of their own voice and critique. Incredible sound from the orchestra. I thought Michael Ball was really very good - second show I've seen him in. He's more than just schmooze and Alfie Boe's sidekick. Go see it if you can - it's well worth the time.
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Chess
May 14, 2018 17:09:47 GMT
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Post by latefortheoverture on May 14, 2018 17:09:47 GMT
Dress Circle £22 Saturday night. I quite enjoyed it - less so the carping and bit**ing from people around me who just LOVED the sound of their own voice and critique. Incredible sound from the orchestra. I thought Michael Ball was really very good - second show I've seen him in. He's more than just schmooze and Alfie Boe's sidekick. Go see it if you can - it's well worth the time. Were they from todaytix? And if so around what time did you buy them? |
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Chess
May 14, 2018 17:38:34 GMT
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Post by ceebee on May 14, 2018 17:38:34 GMT
[/quote]
Were they from todaytix? And if so around what time did you buy them?[/quote]
Yes, they were TodayTix. I'd concur with an earlier post - 10.00am was offering Upper Circle. Around 11.30am got Dress Circle. There were probably a good 6 or 7 empty seats. Though I think it's just a bit of luck really. I'd go again. Good luck.
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Chess
May 16, 2018 7:59:41 GMT
Post by Dr Tom on May 16, 2018 7:59:41 GMT
Finally saw this on Monday evening, having never seen a previous production.
Upper Circle seats, third row, from TodayTix. As others have said, pretty much all the seats in the Upper Circle are restricted view and miss the front of the stage.
On the positive size, the seats are a decent size and comfortable. Although you're a long way back, there are screens showing some of the action as well.
Many people moved forward.
I have been checking the Dress Circle seats being released, but they don't seem to happen every day.
Stalls looked pretty full. Dress Circle and Upper Circle about half full. Balcony slightly less so.
An enjoyable performance, running 2 hours and 50 minutes. A few good songs and Michael Ball's vocals stood out. I don't think I'll try and see it again this run, but it would be interesting to catch another staging in a few years' time.
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Post by Deleted on May 16, 2018 19:00:09 GMT
If- like me, and I suspect a large number of this afternoon’s audience- you spent the mid 80s listening to the double LP over and over again before seeing Chess live on stage at the Prince Edward, replacing it with a CD once it had become so scratched it was no longer playable, adding endless other cast recordings of new productions and concerts to your collection, then you will love this...
There's something singularly indescribable about sitting in a West End theatre, being presented with a wall of sound that brings both goosebumps and an extra thump to your heart. And this is what it did... not once but again and again and again. I’m so pleased we were allowed to see this huge orchestra not to mention hear what they can produce together with the ENO chorus.
Despite having reservations about the cast we’d waited so long to be announced, they were all pretty good. If I’m honest, Michael Ball is no Tommy Korberg, and Cassidy Janson isn’t Elaine Paige. But they were rather special in their own way. Tim Howar coped well, as did Alexandra Burke although I couldn’t help thinking we’d have been better off with a West End stalwart.
There were some oddities, I’ll admit: I couldn’t see how Svetlana’s new song fitted into the show at all. I didn’t need to see Freddie Trumper put on his trousers under his dressing gown only to turn revealing that he’d accidentally tucked it into his drawers, and I’d have thought that if they were going down the close-up cameras route they should have perfected the art of getting sound and pictures in sync. And that rising platform can’t half wobble...
But it was wonderful to hear this magical score again. As a Chess fan (the show, not the game) who can’t claim to know all the twists and turns in the different versions its had over the years, it was quite simply a treat.
I wasn’t offended by the representation of stereotypical (and presumably intentionally comic) Tyroleans, Russians, Americans or Brits, so I can’t see why I should have been offended by a similar representation of Thais. But I didn’t go to be offended, I went along to be entertained. Which I was.
It wasn’t perfect but it was as good as it gets, and it makes such a change from these jukebox shows and small scale productions we’ve now grown used to.
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2,022 posts
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Chess
May 16, 2018 20:42:03 GMT
Post by distantcousin on May 16, 2018 20:42:03 GMT
True to say that the great majority of the audience were 50+, possibly 60+ even. I think it's mainly selling on 80's nostalgia for the original album, rather than any new interest.
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19,793 posts
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Chess
May 16, 2018 20:46:06 GMT
Post by BurlyBeaR on May 16, 2018 20:46:06 GMT
I think the ENO know exactly who their target audience is with these musicals. That’s where the money is.
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