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Post by mrbarnaby on Aug 3, 2021 20:10:41 GMT
Mask was only off for the pic. I would assure you that it has been worn throughout. It’s still on as I type this 😷 😘😘😘
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Post by ceebee on Aug 3, 2021 21:36:05 GMT
Masks are recommended but not mandated, in line with changes to the law. Whilst it is common sense to wear one, there have been times when I haven't worn mine due to my glasses steaming up. I think we need to accept now that risk evaluation lies with the individual and if people are uncomfortable with the fact that others are not wearing masks, the obvious answer is to avoid being in public spaces for the time being.
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Post by danielwhit on Aug 3, 2021 21:56:47 GMT
Gosh you’d all be having palpitations here at Lion King where less than 10% of the audience are wearing masks I’d say. That's better than the 1% at Jersey Boys last week that I spotted.. The “About” page on the Barbican website has gone from saying that Sutton Foster is scheduled for all performances including matinees up to 10th October, to now saying “ All casting is currently confirmed until 17 October, more news to follow on performances beyond this date.” Now that is interesting. From memory the next thing in that space are the RSC from mid-November. Limited extension? Is there a chance the RSC could be knocked out and this given a longer run? Or that it would have a break for Christmas (one assumes Mr Wilmot for one is already pre-booked) then come back in Spring as an open ended production? Seems silly in a way for the Barbican to land a hit this big and not capitalise on it if they possibly can. Is any production booked into the Barbican next year that we know of yet?
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Post by sfsusan on Aug 3, 2021 22:06:42 GMT
I just got home and I'd say 90+% of the audience were masked during the performance.
The show was as good as others have said, and the thing that surprised me most was the amount of personality and sparkle the performers brought to it. Maybe because I had a seat in Row B, so was closer to the stage than usual, but I noticed a lot of byplay between the actors even when they weren't the focus of attention. At one point, Robert Lindsay was teasing Sutton Foster and I thought I heard him say "Are you subbing in for someone?" and she cracked up.
Lindsay reminded me of an old-school song-and-dance man, which was fun to see.
I did think Ms. Foster milked an ovation for 'Blow Gabriel Blow' out of the audience. Yes, there was lots of applause, but she stood and looked around at the audience until about a third of the audience was on their feet.
There were a couple dozen people at the stage door, applauding cast members as they came out.
All in all, it's a champagne cocktail of a show... bubbly, light, a little sweet and thoroughly enjoyable.
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Post by Phantom of London on Aug 3, 2021 23:35:04 GMT
Amazing from the boards dipstick survey on here and above, it has amassed an amazing 34 ⭐️⭐️⭐️⭐️⭐️ And 3 ⭐️⭐️⭐️⭐️, It has not scored less than that. It will be intriguing to see what the paid for critics will make of it.
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Post by Jon on Aug 3, 2021 23:40:03 GMT
Now that is interesting. From memory the next thing in that space are the RSC from mid-November. Limited extension? Is there a chance the RSC could be knocked out and this given a longer run? Or that it would have a break for Christmas (one assumes Mr Wilmot for one is already pre-booked) then come back in Spring as an open ended production? Seems silly in a way for the Barbican to land a hit this big and not capitalise on it if they possibly can. Is any production booked into the Barbican next year that we know of yet? I don't see the Barbican kicking out the RSC for their London season, my guess for Anything Goes is either a short extension or possibly a return engagement next summer either at the Barbican or elsewhere, an open ended run at the Barbican is unlikely as it's not that sort of venue. It's time like these where Trafalgar's new theatre in Olympia would come in handy but it's not due to open until 2025!
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Post by Mark on Aug 3, 2021 23:44:16 GMT
Who to replace Sutton though, that is the question. Stephanie J Block replaced her in New York but I believe the run was coming to an end at that point.
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Post by danb on Aug 4, 2021 2:53:19 GMT
I’m not sure I’d get the bus into our town to see Block do this.
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Post by namegreg on Aug 4, 2021 3:05:34 GMT
With all the mentions of Sutton being up for the Olivier, does anyone else in the cast stick out as deserving of a nomination? I’d assume Robert Lindsay based on all the love he’s gotten, but anyone else?
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Post by harry on Aug 4, 2021 7:41:30 GMT
At one point, Robert Lindsay was teasing Sutton Foster and I thought I heard him say "Are you subbing in for someone?" and she cracked up. Yes he did say this. To me it looked like something he’d probably ad-libbed in rehearsals or earlier in the run and has now been added in as a faux ad-lib but perhaps it was genuinely off the cuff and either way quite funny. Not a lot to add to all the praise so far. The whole thing is slick, pacey and frothy with just the right level of knowing. Sutton is a bonafide star who not only lights up the stage but also seems to elevate the performances of her co-stars whenever they share the stage with her - all the duets with her are big successes. The audience lapped it up with the two production numbers sending people into a frenzy. It did feel like we’d all found the theatrical confection we were craving following the past year and a bit. If I was being *really* picky, I’d say from a pacing point of view it’s a shame that Blow Gabriel Blow comes so soon after the interval and Anything Goes, sort of squashing all the really OTT song and dance into a small central section of the show. Although they did do a great job of making Gypsy in Me an impressive dance number to perk everyone up towards the end of the show - I saw the NT production 15-or-so years ago and I remember feeling it really ran out of steam towards the end. But short of a rewrite there’s not a lot to be done about that. Anyway a great success. I hope it’s a hit, and that we manage to tempt Sutton back in the future for another show.
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Post by Dr Tom on Aug 4, 2021 9:29:25 GMT
Rush ticket options today were disappointing. They pulled the Grand Circle seats, which had been available at £23, then made them available as the Rush seats at £25.
Too far back in that venue for me. I do appreciate it’s opening night, so I’ll have to save my return visit a bit longer. Am sure it will be fantastic for anyone who attends and reports back.
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Post by Dr Tom on Aug 4, 2021 9:31:32 GMT
Yes he did say this. To me it looked like something he’d probably ad-libbed in rehearsals or earlier in the run and has now been added in as a faux ad-lib but perhaps it was genuinely off the cuff and either way quite funny. There were ad-libs dating back to the very first performance. Can't remember if that exact one was in, but it sounds familiar. Fairly sure they're scripted.
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Post by jake1345 on Aug 4, 2021 9:49:00 GMT
On TodayTix the main image says extra weeks added due to phenomenal demand, but still lists closing date as 16th October, so imagine an announcement of an extension is imminent.
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Post by theatre on Aug 4, 2021 10:24:32 GMT
Barbican website now saying this is running until 31st October.
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Post by craig on Aug 4, 2021 10:51:17 GMT
I hope it’s a hit, and that we manage to tempt Sutton back in the future for another show. She seems pretty blown away by the reaction so far and seems to be making the most of London, judging by her Instagram. I really hope we'll get her back for something else in the future.
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Post by Mark on Aug 4, 2021 10:54:04 GMT
I hope it’s a hit, and that we manage to tempt Sutton back in the future for another show. She seems pretty blown away by the reaction so far and seems to be making the most of London, judging by her Instagram. I really hope we'll get her back for something else in the future. How Does Jackman/Foster in Music Man for a summer season at the London Palladium sound? Can dream can't we!
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Post by sfsusan on Aug 4, 2021 11:11:24 GMT
I’d say from a pacing point of view it’s a shame that Blow Gabriel Blow comes so soon after the interval and Anything Goes, sort of squashing all the really OTT song and dance into a small central section of the show. I totally agree. The second half doesn't 'fizz' as much as the first, but people still left the theater humming and whistling. (Speaking of leaving the theater, that has to be the most confusing and poorly-signed venue in London. They show directions to the riverside terrace and the parking garage, but exiting to the 'front' you have to know to look for the Curve.)
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Post by sfsusan on Aug 4, 2021 11:13:22 GMT
Bear with me while I try to delete an unwanted post.
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Post by alece10 on Aug 4, 2021 11:14:17 GMT
I was watching an interview with Sutton and Robert yesterday and they said that the audience reaction was mad for the first 3 performances byt it had quietened down since.
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Post by ABr on Aug 4, 2021 11:39:58 GMT
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Post by harry on Aug 4, 2021 11:41:28 GMT
I was watching an interview with Sutton and Robert yesterday and they said that the audience reaction was mad for the first 3 performances byt it had quietened down since. If last night is anything to go by, they've un-quietened again! A cheer for the conductor before the show even started, a cheer for Sutton Foster's first entrance, a standing ovation for Anything Goes at the Act 1 curtain, a standing ovation for Blow Gabriel Blow in the middle of Act 2, a standing ovation as soon as the first of the ensemble dancers took their curtain call right through to the company leaving the stage, big cheers for all the other numbers, especially long and loud applause for You're The Top, Friendship and Gypsy in Me. I really don't think the cast were in any doubt that the audience were loving it!
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Post by harry on Aug 4, 2021 11:47:30 GMT
I was watching an interview with Sutton and Robert yesterday and they said that the audience reaction was mad for the first 3 performances byt it had quietened down since. If last night is anything to go by, they've un-quietened again! A cheer for the conductor before the show even started, a cheer for Sutton Foster's first entrance, a standing ovation for Anything Goes at the Act 1 curtain, a standing ovation for Blow Gabriel Blow in the middle of Act 2, a standing ovation as soon as the first of the ensemble dancers took their curtain call right through to the company leaving the stage, big cheers for all the other numbers, especially long and loud applause for You're The Top, Friendship and Gypsy in Me. I really don't think the cast were in any doubt that the audience were loving it! P.S. Reading that back it might read like I was being snarky or disparaging or disbelieving of your original comment which wasn't at all my intention - I just meant to say that if Sutton and Robert felt worried that they had quietened down a bit after the first few shows, I don't think they'll be feeling that anymore.
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Post by fiyerorocher on Aug 4, 2021 11:52:15 GMT
I'm tempted to get tickets to this based on the reviews here, but I've also seen it likened to the recent 42nd Street a lot - as someone who though the best part of that production was the fact you would always get upgraded from the cheapest seats to top price stalls, should I give this a miss? How similar is it? So many shows to see and so little money and time, so if it's very similar to 42nd Street in terms of style and tone then I will probably look elsewhere.
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Post by Dr Tom on Aug 4, 2021 12:10:37 GMT
I'm tempted to get tickets to this based on the reviews here, but I've also seen it likened to the recent 42nd Street a lot - as someone who though the best part of that production was the fact you would always get upgraded from the cheapest seats to top price stalls, should I give this a miss? How similar is it? So many shows to see and so little money and time, so if it's very similar to 42nd Street in terms of style and tone then I will probably look elsewhere. It is very similar, even down to a lot of the ensemble having been in 42nd Street (or, if not, another big dance based show). There is slightly more plot to Anything Goes, but not much more. Music wise, I prefer 42nd Street, but it is all from a similar era.
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Post by stuartmcd on Aug 4, 2021 12:53:21 GMT
I'm tempted to get tickets to this based on the reviews here, but I've also seen it likened to the recent 42nd Street a lot - as someone who though the best part of that production was the fact you would always get upgraded from the cheapest seats to top price stalls, should I give this a miss? How similar is it? So many shows to see and so little money and time, so if it's very similar to 42nd Street in terms of style and tone then I will probably look elsewhere. For me personally I could appreciate the spectacle of 42nd Street and the incredible dancing however I did not like the plot or music at all really. But I’ve always loved Anything Goes and this production and cast is spectacular. I’d say go for it.
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