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Post by austink on Aug 28, 2022 8:16:51 GMT
Very much enjoyed this last night. There are some kinks and tweaks to design they will probably want to work through if it moves to town but was great to see this show full out. The design of the show is giving you everything and without spoilers you can see how this is designed for a bigger stage. I was in Row K and I wouldn’t have wanted to be any closer to the stage in order to take in everything. At times the lighting and projections are incongruous with what else is going on the stage and they should be reworked a bit. I thought the end of Act I projection slightly naff and they need to rework the footlight usage as it gets distracting and doesn’t really do anything other than wash out the actors. The entry to the woods was great, the magic was nice touches throughout and there is the one jaw dropping event noted by others. The Milky White works well, is very cute and I prefer this to what they are doing on Broadway. I personally like the animals throughout and and it does give the sense of broader forces at work beyond what we are seeing on the stage.
Performance wise Alex Young was in great form and for me the whole show turns on the Bakers wife, Nicola is great as the Witch but at times it seems they needed to work on sound balances that kept me from fully enjoying her performance, Audrey was ok but seemed lost in everything going on. Julian was great as the Mysterious Man but there is a question I have on what his role was trying to really accomplish when to remove the normal connection to the Baker.
My larger question while enjoying the show is what is this show trying to say? Most Into the Woods productions seem to lean move into an allegory about the broader world and with so much going on, I didn’t know what this show was telling me other than the story in front of me.
From an audience perspective, I was sitting next two a mother who was there with her 7 year old and he loved it and fully kept his attention throughout, which I see as a big plus that you can get younger kids into a Sondheim show so kudos to that. Woman in front of me was there with her BF and parents and she seemed to be connected to one of the producers bringing the show to town and she was having a VERY big day out. While not singing along, she was giving full lip sync along in Act I and it got distracting. Enjoy your show but keep it to yourself please.
4 Stars.
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Post by inthenose on Aug 28, 2022 8:23:04 GMT
The downside to being on this forum and reading this thread is I now have to go to Bath and see this - just in case.
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Post by og on Aug 28, 2022 9:36:01 GMT
Interesting thoughts austink - hope they get the designer back in to tweak some stuff with the sound, because I felt the same earlier in the week. There were points I could hear noise but not words and as others have said, the beauty of Sondheim's writing is his lyrical word-play, which is gone if you loose intelligibility. Some of the technical elements towards the end of Act1 did let it down visually. I think the only time the projections really had any discernible merit was {Spoiler - click to view}jack and the giant
In terms of 'what is the show is trying to say?' I've been thinking about this for a few days. I may well have it totally wrong here but I don't think it's trying to do anything profound other than entertain through theatre. Often with Sondheim's work there's a temptation to intellectualise or present it as some sort of existential metaphor for whatever. Instead here they lean away from that and into the comedy of each situation, even in act 2 where it gets darker, there's still elements of fun. Looking round at one point and seeing everyone laugh I realised this was the first time I was in a theatre for a long long time where everyone had let go and was just there in the moment, having fun in the theatre. Which is also what we are seeing play out. A child having fun in a theatre. Life for a lot of people lately has been tough and it's by no means showing any signs of letting off. We're sat observing a number of other people struggle with aspects of their lives too, that has the potential to get really heavy so I felt glad to walk away having not been clobbered round the head by allegory. Like I say, I may well have spun myself into a web of misconstrued assumption. |
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Post by bobbievanhusen on Aug 28, 2022 10:22:07 GMT
ITW is the most accessible of all the Sondheim shows and i don't think it needs to be over analysed because it's all there in the writing. The show itself is funny, but it also has a lot of heart. I cried every time i saw the original london production and the one at the Donmar, though Regents Park didn't have the same effect.
Terry Gilliam is known for his quirky design and visuals, which is what he's doing here, but it sounds a lot like style over substance.
For those that have seen it, Is the show improved by not having the bakers father in it. For me, that relationship is key to the show and how the baker is able to move forward.
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Post by austink on Aug 28, 2022 10:33:34 GMT
My view was removing the father was a loss and what you end up with is not additive to the plot or story. My point above was to not read too much into the piece but there is enough subtext that you can play with to take it to the next level. That is lost here. Still enjoyed it but my two cents! ITW is the most accessible of all the Sondheim shows and i don't think it needs to be over analysed because it's all there in the writing. The show itself is funny, but it also has a lot of heart. I cried every time i saw the original london production and the one at the Donmar, though Regents Park didn't have the same effect. Terry Gilliam is known for his quirky design and visuals, which is what he's doing here, but it sounds a lot like style over substance. For those that have seen it, Is the show improved by not having the bakers father in it. For me, that relationship is key to the show and how the baker is able to move forward. |
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Post by jacob on Aug 28, 2022 12:47:51 GMT
My view was removing the father was a loss and what you end up with is not additive to the plot or story. My point above was to not read too much into the piece but there is enough subtext that you can play with to take it to the next level. That is lost here. Still enjoyed it but my two cents! ITW is the most accessible of all the Sondheim shows and i don't think it needs to be over analysed because it's all there in the writing. The show itself is funny, but it also has a lot of heart. I cried every time i saw the original london production and the one at the Donmar, though Regents Park didn't have the same effect. Terry Gilliam is known for his quirky design and visuals, which is what he's doing here, but it sounds a lot like style over substance. For those that have seen it, Is the show improved by not having the bakers father in it. For me, that relationship is key to the show and how the baker is able to move forward. Oh I only agree with this too.. it slows down the piece a little bit but with Rhashan‘s Baker their interaction felt meaningless.. at that point I was beginning to switch off slightly !can see some reasoning behind it as to make it more sinister but with the other moments in act 2 I’d say it requires the connection |
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Post by Being Alive on Aug 28, 2022 14:06:37 GMT
I think explicitly not having him in it was a problem, but I did take my previous knowledge of the show in with me, so took the current version of No More to maybe symbolise him having a conversation with his father (dead or alive).
If you didn't know the show, you wouldn't be able to project that on to it. But I like the mysterious man choice so much that I kind of forgive the explicit removal of his father.
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Post by og on Aug 28, 2022 14:38:19 GMT
I hadn't seen ITW on the stage before seeing it here, my only familiarity with it being the Disney movie (apologies) which cut the Baker's father aspect out. So I had no real preconception around characters and relationships beyond the obvious. It didn't feel like anything was missing from there not being a parental relationship between Baker and MM. Hadn't considered this too much until now, so free-styling here slightly but {Spoiler}{Spoiler - click to view}the Mysterious Man in his undertaker attire becomes death in the 2nd act as he is seen walking round with his scythe claiming victims. He takes Jack's mother, he takes the Bakers wife - both people fundamentally flawed; Jack's mother is pushy and relentlessly hard on him, Bakers wife for her infidelity. Could the Mysterious Man be a sort of moral compass? With death comes judgement etc. He moves to his next prospective victim, the Baker, but then in a change of circumstances we get a moment of reflection in 'No More'. It's a turning point as the Baker reflects and the Mysterious Man processes this with him, seeing this he lets him have a second chance. Probably holes in that and those more familiar with it all may see through, but its a potential interpretation. |
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Post by bobbievanhusen on Aug 29, 2022 1:02:08 GMT
I hadn't seen ITW on the stage before seeing it here, my only familiarity with it being the Disney movie (apologies) which cut the Baker's father aspect out. So I had no real preconception around characters and relationships beyond the obvious. It didn't feel like anything was missing from there not being a parental relationship between Baker and MM. The Bakers father is in the film, played by Simon Russell Beale. He's shown during the Witch's rap, in a flashback, stealing the greens from her garden and then he appears at the end, when he tell's the Baker that he's making the same mistake he did, running away and abandoning his own child. No More underscores the scene where the song usually is. |
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Post by og on Aug 29, 2022 7:30:00 GMT
I hadn't seen ITW on the stage before seeing it here, my only familiarity with it being the Disney movie (apologies) which cut the Baker's father aspect out. So I had no real preconception around characters and relationships beyond the obvious. It didn't feel like anything was missing from there not being a parental relationship between Baker and MM. The Bakers father is in the film, played by Simon Russell Beale. He's shown during the Witch's rap, in a flashback, stealing the greens from her garden and then he appears at the end, when he tell's the Baker that he's making the same mistake he did, running away and abandoning his own child. No More underscores the scene where the song usually is. Whoops, have no recollection of that, haha. corrected. Show the impression the film made. It was the soundtrack and score that got me. |
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Post by Deleted on Aug 29, 2022 7:49:14 GMT
So interesting that directors feel compelled (or simply desire) to add an additional framing device or conceit of sorts to Into the Woods when it is a magnificent work when performed without additional adornment. Not saying there is anything wrong with them doing so, but I certainly never need it in order to embrace all the wonderful moments in the woods.
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Post by danb on Aug 29, 2022 8:10:07 GMT
So interesting that directors feel compelled (or simply desire) to add an additional framing device or conceit of sorts to Into the Woods when it is a magnificent work when performed without additional adornment. Not saying there is anything wrong with them doing so, but I certainly never need it in order to embrace all the wonderful moments in the woods. Agreed. Why on earth would a young girl be creating tales of barren couples and sexually predatory wolves in her play? I’m pretty sure that I couldn’t write a musical based around the subtext of fairy tales aged 6; as this is basically what the framing suggests. It does suggest an element of playing it safe. I still loved it though. |
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Post by FairyGodmother on Aug 29, 2022 9:01:29 GMT
You could say the same about Starlight Express — using children as a framing device is always going to have a disconnect between what a child of that age would come up with and what the composer/lyricist/writer does.
I don't think there are many 6-8 year old boys who'd put a love story into his championship race!
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Post by jacob on Aug 29, 2022 9:14:50 GMT
definitely this ^ not to mention the whole “are *you* ready” from the little girl addressed to the audience before the show , which slightly pushed the panto narrative across. Just scrap that bit please😭
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Post by danb on Aug 29, 2022 10:17:43 GMT
Hi Terry,, sorry to bother you in your seat but some friends and I have been discussing your brilliant production of ‘Into the Woods’ in Bath and just wanted to suggest one possible improvement that c…
Sorry? F@ck the f@ck where? It’s just a sugge…
No, I haven’t won any Oscars or Golden Globes…
We just felt…no I realise I’ll never feel anything ever again if you chop my arms off…yes I’m sorry to suggest that any improvement could be made….
Yes, I’m aware that you consider yourself a Godlike genius….
Yes, I’m just going…bye
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Post by og on Aug 29, 2022 11:39:19 GMT
So interesting that directors feel compelled (or simply desire) to add an additional framing device or conceit of sorts to Into the Woods when it is a magnificent work when performed without additional adornment. Not saying there is anything wrong with them doing so, but I certainly never need it in order to embrace all the wonderful moments in the woods. Agreed. Why on earth would a young girl be creating tales of barren couples and sexually predatory wolves in her play? I’m pretty sure that I couldn’t write a musical based around the subtext of fairy tales aged 6; as this is basically what the framing suggests. It does suggest an element of playing it safe. I still loved it though. Well, it you want to get literal, what's a witch and giants doing in it? because they're not very realistic either so they need cutting too. Joking aside, TG talks in the programme about his Granddaughter being brought up on Brothers Grimm fairy tales, which are darker than say the average sugarcoated edition you might get these days, and children do have wild and often fairly dark imaginations, so I dont think think it's irrational or out of place particularly. You could get analytical and say it's actually a reinforcement of one the themes of innocence in the piece. Children will Listen. This girl has observed and heard things from adults that she's absorbed and is now playing elements out in fantasy on a toy stage. Should it make us adults question our responsibility over what we impart on children? My only reservation around it was the extended silence, that almost felt awkward being drawn out. I'd have liked it if she'd been humming one of the motif's from the score, particularly Rapunzel's theme. I think that would have amplified the slightly twisted aspect of this little child being in control of everything we are seeing. I wonder if they tried that in rehearsal but scrapped it for any reason. |
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Post by cropley on Aug 29, 2022 12:38:22 GMT
Hi Terry,, sorry to bother you in your seat but some friends and I have been discussing your brilliant production of ‘Into the Woods’ in Bath and just wanted to suggest one possible improvement that c… Sorry? F@ck the f@ck where? It’s just a sugge… No, I haven’t won any Oscars or Golden Globes… We just felt…no I realise I’ll never feel anything ever again if you chop my arms off…yes I’m sorry to suggest that any improvement could be made…. Yes, I’m aware that you consider yourself a Godlike genius…. Yes, I’m just going…bye I want to know if this actually happened  |
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Post by danb on Aug 29, 2022 12:39:45 GMT
Agreed. Why on earth would a young girl be creating tales of barren couples and sexually predatory wolves in her play? I’m pretty sure that I couldn’t write a musical based around the subtext of fairy tales aged 6; as this is basically what the framing suggests. It does suggest an element of playing it safe. I still loved it though. Well, it you want to get literal, what's a witch and giants doing in it? because they're not very realistic either so they need cutting too. Joking aside, TG talks in the programme about his Granddaughter being brought up on Brothers Grimm fairy tales, which are darker than say the average sugarcoated edition you might get these days, and children do have wild and often fairly dark imaginations, so I dont think think it's irrational or out of place particularly. You could get analytical and say it's actually a reinforcement of one the themes of innocence in the piece. Children will Listen. This girl has observed and heard things from adults that she's absorbed and is now playing elements out in fantasy on a toy stage. Should it make us adults question our responsibility over what we impart on children? My only reservation around it was the extended silence, that almost felt awkward being drawn out. I'd have liked it if she'd been humming one of the motif's from the score, particularly Rapunzel's theme. I think that would have amplified the slightly twisted aspect of this little child being in control of everything we are seeing. I wonder if they tried that in rehearsal but scrapped it for any reason. …erm…because they’re the sort of thing that children WOULD write stories about, rather than age inappropriate adult themes. It just doesn’t follow through as a concept is all. Its shallow and unattached to the rest of the show so in my humble opinion is wholly unnecessary. |
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Post by mrbarnaby on Aug 29, 2022 12:57:03 GMT
I’m surprised by how many unsold tickets there are still for this in Bath. Many are restricted view as there are so many in that theatre, but the upper circle is empty for most shows!
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Post by austink on Aug 29, 2022 14:39:54 GMT
Indeed the run hasn’t sold well. You wonder if people will pause to think about the transfer. It’s not a cheap show to run and they will be opening in the current cost of living crisis. I’m surprised by how many unsold tickets there are still for this in Bath. Many are restricted view as there are so many in that theatre, but the upper circle is empty for most shows! |
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Post by apubleed on Aug 29, 2022 15:01:08 GMT
Plus average reviews. Could be in the end of the road?
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Post by og on Aug 29, 2022 15:22:47 GMT
I was wondering the same but then noticed quite an uptake once previews had started, almost people booking the week of. Out of interest how often do runs in Bath sell out during Summer? It's kinda out the way for a lot people and not the cheapest to visit if staying over along with the ongoing prospect (and effects) of rail strikes makes travel fairly unappealing.
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Post by inthenose on Aug 29, 2022 15:53:25 GMT
There is an awful lot of people colouring their views - including on here - by their distaste for Gilliam’s public comments/personality.
I’d prefer critics of the man were outright truthful and said “I don’t want to see this because I don’t like TG” rather than pretending their critiques are genuinely about the visualisation and realisation of the piece.
I’m no fan of TG as a person but I can’t wait to see this and certainly won’t be dancing with glee that “the old dinosaur has failed” if I don’t enjoy it.
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Post by jacob on Aug 29, 2022 16:15:58 GMT
I was wondering the same but then noticed quite an uptake once previews had started, almost people booking the week of. Out of interest how often do runs in Bath sell out during Summer? It's kinda out the way for a lot people and not the cheapest to visit if staying over along with the ongoing prospect (and effects) of rail strikes makes travel fairly unappealing. well, both times that Six the Musical has been here it’s pretty much sold out. I’d say it’s just down to marketing as well as the show itself, reviews etc. |
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Post by hadeswasking on Aug 29, 2022 16:37:00 GMT
I was wondering the same but then noticed quite an uptake once previews had started, almost people booking the week of. Out of interest how often do runs in Bath sell out during Summer? It's kinda out the way for a lot people and not the cheapest to visit if staying over along with the ongoing prospect (and effects) of rail strikes makes travel fairly unappealing. well, both times that Six the Musical has been here it’s pretty much sold out. I’d say it’s just down to marketing as well as the show itself, reviews etc. Six sells out my local venue months in advance and that barely sells out |
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