Let’s gets real. Truth hurts!

A farewell-tour is not a farewell-tour if you keep casting the same actor in each subsequent leg, or keep bringing them back in future productions of the same show.

I do not see the appeal or point at all of Six.

The 2017 National Theatre-production of Jane Eyre was odd and fairly boring.

...of riches?

Book of Mormon is amazeballs x

Hamilton is double swinging amazeballs x

Come From Away is triple swinging amazeballs x

The Great Comet is so amazeballs it's like one of those pits full of coloured balls that kids play in x

Six has more amazeballs than anyone else, but it is not a musical. It is a fantastic cabaret act that didn't have a home anywhere else so they called it a musical and shoved it Off West End. The fact that this show is created by 2 BRITISH Uni students and has opened on Broadway a little over 2 years after it's inception is an unparalledled and extraordinary feat. The fact that so many people are willing to sh*t all over it instead of celebrating it's immense achievements angers me. If they were a football team of men you'd be giving them parades in the streets, but instead...crickets...and endless bitching and moaning about how sh*t it is instead of praising the doors it has and will open for modern British musicals x


The first half of Kinky Boots is amazeballs, the 2nd half is just balls x


Fun Home, Caroline or Change and Falsettos are unwatchable manipulative muck x


Sondheim is so overrated they actually invented the word just to describe his work x


Bette Midler was atrocious in Hello Dolly x


The recent JCS revival was like watching an ALW themed episode of American Idol. The singing was phenomenal but it was cold, heartless and had no soul x


Apart from Sunset ALW is incapable of writing a decent show on his own. His 2 best shows post 70's were his 2 biggest flops...The Beautiful Game and Whistle Down the Wind x

Not seen six but listened to the awful soundtrack which is a pop wannabe version of hamilton which is overrated as it is. Six does not appeal to me and if it is the future of british musicals I certainly don’t want those doors opened.

Out of the 122 events I have listed as seen in my lifetime so far, the 2018-production of Flashdance was the worst of all.

Those 122 events include a Bristol City v Oldham Athletic-match. Just for comparison.

If it was so problematic why would so many of the black community have agreed to take part in the show? Think about the number of black actors who have worked on it over the years. Half the cast are black.  I think it's difficult for the black lives matter movement to come out against a show many of their own community were more than happy to be a part of and advertise. The audience, in my experience, has also been very diverse the times I've been to see it. 

But if anyone wants to now discuss the individual topic of which shows are problematic because of BLM further can i ask that another thread is made or it's taken to the relevant thread in GD, rather than hijacking this thread with replies that are off topic.

Cheers.

NO.

I’d like to add Jenna Russell,Hannah Waddingham and any revival of SS’s back catalogue at The Menier Chocolate Factory please.

Bend It Like Beckham has a pretty nice score, and in the grim environment of new British musicals it was almost great.

Thought someone would've mentioned it already, but I've never heard Alfie Boe *not* sing like he's got something in his mouth, which particularly shows when the tempo is fast and there are a lot of lyrics to get through (e.g. Valjean's Soliloquy).

Ironically, considering his disregard for the opera world, I find his vocals much more agreeable listening to his takes on slower-paced, grandiose operatic arias.

To all musicals post 2005: It is ok to use more than 4 chords in a song.