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Post by alece10 on Jul 21, 2023 11:02:41 GMT
Saw this a few days ago and thoroughly enjoyed it - but didn’t LOVE it. Charlie Stemp is a star. I knew that going in having seen him in various things, but he just doesn’t disappoint. He’s funny, he’s cheeky, he’s likeable, and - of course - he just amazes with the dance routines. Still highly enjoyable, but very much due to Charlie Stemp and the full company choreographed numbers. And he seems to be having so much fun with the character- especially when he's mimicking Zindler. The slapstick routine with the 2 Zindlers is both hilarious and extremely clever. |
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Post by anthony40 on Jul 21, 2023 11:06:46 GMT
And he seems to be having so much fun with the character- especially when he's mimicking Zindler. The slapstick routine with the 2 Zindlers is both hilarious and extremely clever. I'm beside myself! |
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Post by ladidah on Jul 21, 2023 11:17:50 GMT
I loved that, so clever
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Post by A.Ham on Jul 21, 2023 11:22:32 GMT
Me too - one of my favourite parts of the show! |
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Post by Jon on Jul 21, 2023 12:33:02 GMT
Things that make the public buy tickets to musicals in sufficient numbers to sustain longer or open ended runs: - musicals based on massive films - jukebox musicals based on big pop stars - musicals that get a fan girl following (Six, &Juliet, Heathers) - musicals that feature a “celeb” (no matter how inappropriate) - Les Mis/Phantom - one off “different” runaway hits that really don’t come around that often (usually massive on Broadway first. Wicked. Hamilton). - safe family shows or well loved enduring classics (like the Palladium stuff. Joseph. Wizard of Oz. Also currently Guys and Dolls. And Grease). Things that don’t (necessarily) mean a hit: - being well produced and superbly performed by a bone fide MT cast - being popular on here. Things that really don’t make as much difference as people like to think - ticket prices. The GBP are very happy to kiss goodbye to hundreds of pounds on the shows in the top list - even during the cozzy livs. As I mentioned on the state of the West End thread, London theatre overall are taking as much money as they always have. I think it’s actually pretty simple. Crazy For You simply isn’t a musical the public want to see in large numbers. Or spend their money on. Sad times. It is depressing that hits that don’t fall into the top list are very few and far between. But there we are. Plays seems to be doing well at the moment like Dear England, A Little Life etc so it seems that the show that are closing early or not doing so well simply aren't clicking with the wider public. |
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Post by alece10 on Jul 21, 2023 14:24:54 GMT
I'm tempted to book for one of the days when Charlie is on holiday as it would be really interesting to see how his understudy tackles the role.
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Post by SuttonPeron on Jul 21, 2023 14:39:03 GMT
Jack was delightful understudying Billy in Anything Goes. I´m sure he´ll be wonderful here as well.
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Post by justafan on Jul 21, 2023 14:42:32 GMT
I'm tempted to book for one of the days when Charlie is on holiday as it would be really interesting to see how his understudy tackles the role. Likewise |
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Post by theatrefan62 on Jul 21, 2023 14:56:32 GMT
Things that make the public buy tickets to musicals in sufficient numbers to sustain longer or open ended runs: - musicals based on massive films - jukebox musicals based on big pop stars - musicals that get a fan girl following (Six, &Juliet, Heathers) - musicals that feature a “celeb” (no matter how inappropriate) - Les Mis/Phantom - one off “different” runaway hits that really don’t come around that often (usually massive on Broadway first. Wicked. Hamilton). - safe family shows or well loved enduring classics (like the Palladium stuff. Joseph. Wizard of Oz. Also currently Guys and Dolls. And Grease). Things that don’t (necessarily) mean a hit: - being well produced and superbly performed by a bone fide MT cast - being popular on here. Things that really don’t make as much difference as people like to think - ticket prices. The GBP are very happy to kiss goodbye to hundreds of pounds on the shows in the top list - even during the cozzy livs. As I mentioned on the state of the West End thread, London theatre overall are taking as much money as they always have. I think it’s actually pretty simple. Crazy For You simply isn’t a musical the public want to see in large numbers. Or spend their money on. Sad times. It is depressing that hits that don’t fall into the top list are very few and far between. But there we are. I'm not sure how true some of that is. There are plenty of movie and jukebox shows that have flopped. Both here and on broadway. In fact I think more have flopped than were a success. There's also been shows with stars that have underperformed. |
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Post by Someone in a tree on Jul 21, 2023 14:58:12 GMT
It was mostly directed out front at Chich too - it didn't really care about the audience on the sides there either. I bang on about this A lot but sadly most main house shows at chichester are only worth seeing from up front and central. |
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Post by BVM on Jul 21, 2023 15:07:53 GMT
Things that make the public buy tickets to musicals in sufficient numbers to sustain longer or open ended runs: - musicals based on massive films - jukebox musicals based on big pop stars - musicals that get a fan girl following (Six, &Juliet, Heathers) - musicals that feature a “celeb” (no matter how inappropriate) - Les Mis/Phantom - one off “different” runaway hits that really don’t come around that often (usually massive on Broadway first. Wicked. Hamilton). - safe family shows or well loved enduring classics (like the Palladium stuff. Joseph. Wizard of Oz. Also currently Guys and Dolls. And Grease). Things that don’t (necessarily) mean a hit: - being well produced and superbly performed by a bone fide MT cast - being popular on here. Things that really don’t make as much difference as people like to think - ticket prices. The GBP are very happy to kiss goodbye to hundreds of pounds on the shows in the top list - even during the cozzy livs. As I mentioned on the state of the West End thread, London theatre overall are taking as much money as they always have. I think it’s actually pretty simple. Crazy For You simply isn’t a musical the public want to see in large numbers. Or spend their money on. Sad times. It is depressing that hits that don’t fall into the top list are very few and far between. But there we are. I'm not sure how true some of that is. There are plenty of movie and jukebox shows that have flopped. Both here and on broadway. In fact I think more have flopped than were a success. There's also been shows with stars that have underperformed. Ahh yes that may be true but I was talking about successes. Not saying most shows in the above categories succeed. But am saying most of shows that succeed are in the above categories. If you can picture the Venn diagram! |
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Post by BVM on Jul 21, 2023 15:19:48 GMT
But if they had priced them more reasonably from the outset, they may not have needs such deep discounts now. People are absolutely going to look at the headline prices. Only regular theatregoers who understand the system will look at the discount options. The more casual audience members may well not know where to look and give up when they see top ticket prices that are just scarily high. I totally agree. It’s only a small group of people, like us lot on here, who know where to look and how things work to be able to find cheap tickets and offers. I do worry that the vast majority take one look at Ticketmaster or the main venue website and are put off. Means more offers for us, but those aren’t much good if the show can’t generate enough revenue to keep going. The Aspects thread is full of negative comments and reasons why it’s not resonating with audiences, so it closing early is somewhat to be expected. But if something like Crazy For You, with all its rave reviews from contributors here and the national press alike, can’t keep going, I genuinely worry for the West End. Some of us want more than a handful of huge shows that’ve run for decades and a few jukebox musicals 😞 The Aspects example is interesting as I certainly have a long list of ways it could be better and things it gets wrong. But my gut feeling is that even if they’d put on the perfect (to the consensus on here) production it wouldn’t have done any better. In fact the miscasting of Ball is probably responsible for most of the sales it does have, so may well have done even worse. The masses simply don’t want to see Aspects of Love. Similarly being an excellent production doesn’t drive CFY sales. Aspects AND CFY have in common the fact that the public aren’t really interested in the piece. The title is the problem (for mass market sales). So sadly being a good Vs mediocre/bad production bears little connection to sales these days…. (The recent Joseph was so bad in so many ways but sold brilliantly - cos people wanna see Joseph!) |
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Post by SuttonPeron on Jul 21, 2023 15:39:11 GMT
But if they had priced them more reasonably from the outset, they may not have needs such deep discounts now. People are absolutely going to look at the headline prices. Only regular theatregoers who understand the system will look at the discount options. The more casual audience members may well not know where to look and give up when they see top ticket prices that are just scarily high. The presale prices weren´t particularly cheap. They reduced them a lot right after opening. (Back row circle used to be 40; it´s now 25; some more side stalls are also 25 now). Top price used to be 165. So they must´ve had realized this. Had they priced this better from presale, it might have sold better. |
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Post by oxfordsimon on Jul 21, 2023 16:00:42 GMT
Those initial prices are obscene.
Someone needs to take a hard look in the mirror for having signed them off.
They knew the West End is still rebuilding. They knew tourism is still rebuilding.
They knew that many are facing financial difficulties.
£165 top price is beyond wrong.
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Post by Dawnstar on Jul 21, 2023 16:02:30 GMT
Having gorgeous pictures of Charlie all over the tube would certainly get me into the theatre. Perhaps having them perform more on television (not that that is an easy thing to do) could help as well. People, in this day and age, want to know what they are getting before spending a lot of money on theatre tickets. I also think they should market more to the LGBT+ community on this one.This is going to be a dumb thing to ask but why? It's a musical with Gershwin songs, it's not exactly La Cage Aux Folles or Kinky Boots. I'm wondering why too. I've not seen this production yet but I don't recall anything gay-orientated in the Regent's Park production (unless you count Samuel Holmes, who played pretty much the same camp character in CFY as he has in the half a dozen other shows I've seen him in since!). Has this Chichester production had a re-write to make some of the characters gay or something? |
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Post by Jon on Jul 21, 2023 16:13:03 GMT
I'm wondering why too. I've not seen this production yet but I don't recall anything gay-orientated in the Regent's Park production (unless you count Samuel Holmes, who played pretty much the same camp character in CFY as he has in the half a dozen other shows I've seen him in since!). Has this Chichester production had a re-write to make some of the characters gay or something? The production hasn't been changed in terms of the book at all which is why the whole selling to the LGBT community suggestion makes no sense. |
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Post by alece10 on Jul 21, 2023 16:14:19 GMT
The gays love a bit of tap and, to be honest, the musical is very cheesy and camp.
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Post by alece10 on Jul 21, 2023 16:32:00 GMT
A technical question that I'm hoping someone can help with.
I noticed that Charlie Stemp has what looks like a hearing aid behind his right ear. I'm guessing this is some kind of radio mic as you can see a little mic under his ear.
None of the other cast have this so just wondering if I am right.
I'm guessing he can't wear the usual mic which goes up their back and through their hair due to the quick costume changes and the wig changes.
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Post by A.Ham on Jul 21, 2023 16:53:36 GMT
A technical question that I'm hoping someone can help with. I noticed that Charlie Stemp has what looks like a hearing aid behind his right ear. I'm guessing this is some kind of radio mic as you can see a little mic under his ear. None of the other cast have this so just wondering if I am right. I'm guessing he can't wear the usual mic which goes up their back and through their hair due to the quick costume changes and the wig changes. I think it’s to do with his mic yes, I spotted the same thing and wondered. Interestly, even at the front (in F) I couldn’t see mics or wires on anyone, but they must’ve been there! As for selling it to the LGBT community, other than Charlie’s obvious appeal and a couple of rather attractive young gentlemen in the ensemble, there’s nothing particular about the production to hit that demographic. But yes, I did love the dancing and the beautiful costumes! |
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Post by showtoones on Jul 21, 2023 19:17:18 GMT
While there’s nothing LGBT+ themed about the show, it is a musical with big dancing, great singing, lush costumes, and some sparkle. Oh and handsome Charlie Stemp. Theater queens (whether gay or straight) would love it so why not open up the demographic and at least try something new? Clearly what they’re currently doing isn’t getting as many butts in seats as I’m sure they’d like.
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Post by Jon on Jul 21, 2023 19:27:01 GMT
While there’s nothing LGBT+ themed about the show, it is a musical with big dancing, great singing, lush costumes, and some sparkle. Oh and handsome Charlie Stemp. Theater queens (whether gay or straight) would love it so why not open up the demographic and at least try something new? Clearly what they’re currently doing isn’t getting as many butts in seats as I’m sure they’d like. They're already promoting Charlie and Carly in the marketing. There is nothing more than they can showcase from the show that hasn't already been highlighted. |
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Post by rumtom on Jul 24, 2023 10:39:02 GMT
I have been keen to see this for a while but was also considering taking my 5 year old daughter. The website says no under 4's but I wonder if someone that's seen it could say whether it's suitable for young kids.
She loves dance and sat through an amateur dance production for a couple of hours completely transfixed, so I thought it might be nice for her to see a big production.
Thanks!
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Post by rob2bob on Jul 24, 2023 10:40:34 GMT
Saw this production sat in stalls seat H41 ... dead centre to stage. Great view and excellent seat with oodles of leg room (best theatre seat ever IMHO).
All cast were top notch and Charlie Stemp certainly did not disappoint.
I had no preconceptions or knowledge beforehand of this show, but came away a happy bunny. One of the best shows I have seen in a long time.
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Post by ladidah on Jul 24, 2023 10:41:47 GMT
Would be fine, nothing rude in it.
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Post by alece10 on Jul 24, 2023 16:31:05 GMT
I have been keen to see this for a while but was also considering taking my 5 year old daughter. The website says no under 4's but I wonder if someone that's seen it could say whether it's suitable for young kids. She loves dance and sat through an amateur dance production for a couple of hours completely transfixed, so I thought it might be nice for her to see a big production. Thanks! Both times I've seen it there were quite young children there sitting near me and they loved it. It moves along very fast so they won't get a chance to get bored. One child on Thursday has such an infectious laugh and giggled all the way through much to our amusement. |
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