324 posts
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Post by ilovewemusicals on May 10, 2023 18:30:49 GMT
On The One Show Michael made it sound like Jamie won’t sing Love Changes Everything at all in the show.
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134 posts
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Post by magnificentdonkey on May 10, 2023 18:43:58 GMT
On The One Show Michael made it sound like Jamie won’t sing Love Changes Everything at all in the show. Thanks! Any other news? Plans of a new cast recording, perchance?
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2,263 posts
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Post by richey on May 10, 2023 20:32:01 GMT
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5,903 posts
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Post by mrbarnaby on May 10, 2023 22:04:32 GMT
I love that he keeps up the ‘Cathy’ storyline 🤣
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1,582 posts
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Post by anita on May 11, 2023 9:57:12 GMT
Book ordered.
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134 posts
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Post by magnificentdonkey on May 12, 2023 17:00:12 GMT
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Post by danb on May 12, 2023 17:21:53 GMT
In true Theatreboard style, I am keen to know how high the stage is as there are decent priced front row seats for the date I’m interested in and my wife is 5’2”.
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4,805 posts
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Post by Mark on May 12, 2023 18:02:16 GMT
Just walked past the theatre and it’s cancelled tonight.
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Post by max on May 12, 2023 18:12:38 GMT
Changes....everything? This post led me to click the previous instagram story, which was a social media thing from backstage during the stagger through with orchestra. Unless they were staggering through only cue to cue it seems there's only the final line from Ibsen's 'The Master Builder' used now, then the early part of the dressing room scene is cut, starting instead at 'why did I agree to accept this bloody tour', which ends with a lyric change: instead of 'is two weeks of nothing' it sounds like 'not even a programme'. I don't like any of this. Starting with more Ibsen would be good, to understand if Rose is any good as an actress, what might beguile Alex etc. For anyone interested in orchestra placement - the actor presenting the vid says he's backstage at quick change and wig area, and 'the orchestra are above us'.
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346 posts
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Post by Figaro on May 12, 2023 19:38:42 GMT
Just walked past the theatre and it’s cancelled tonight. Tonight’s performance has been cancelled for a while now. Perhaps a couple of months.
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4,805 posts
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Post by Mark on May 12, 2023 23:15:21 GMT
Just walked past the theatre and it’s cancelled tonight. Tonight’s performance has been cancelled for a while now. Perhaps a couple of months. Oh 😅😅.
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625 posts
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Post by chernjam on May 13, 2023 2:51:45 GMT
So awesome to hear a full orchestra playing this score
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134 posts
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Post by magnificentdonkey on May 13, 2023 8:34:44 GMT
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134 posts
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Post by magnificentdonkey on May 13, 2023 22:01:25 GMT
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2,263 posts
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Post by richey on May 14, 2023 8:17:27 GMT
So was anyone off the board there last night or has someone rated it without seeing it?
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Post by mattnyc on May 14, 2023 11:39:33 GMT
I was there last night and absolutely adored it. I have to say it’s a show that I’d never seen live and whenever I’d tried to listen to the cast recording, I could never really get into it (and it’s been YEARS since i listened to any of it). So essentially, this was like a brand new ALW show for me. And because of that, I can’t speak to any changes or anything that’s been made to this that (I think?) were done. But that score - man, I wish ALW would write something like that again, now.
The set design was absolutely glorious, using gorgeous painted backdrops and the set pieces, while simple were perfect as well . I’m going back in a few days because I really have to see it again now.
I thought everyone in the cast was just spot on, even Jamie. So good on him for giving a performance that (at least for me) makes me forget “Moulin Rouge”.
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34 posts
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Post by wanderingranger on May 14, 2023 11:43:11 GMT
I was there last night and absolutely adored it. I have to say it’s a show that I’d never seen live and whenever I’d tried to listen to the cast recording, I could never really get into it (and it’s been YEARS since i listened to any of it). So essentially, this was like a brand new ALW show for me. And because of that, I can’t speak to any changes or anything that’s been made to this that (I think?) were done. The set design was absolutely glorious, using gorgeous painted backdrops and the set pieces, while simple were perfect as well . I’m going back in a few days because I really have to see it again now. I thought everyone in the cast was just spot on, even Jamie. So good on him for giving a performance that (at least for me) makes me forget “Moulin Rouge”. Can you confirm if Love Changes Everything has indeed been given to the Ball or if Jamie sings it?
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Post by mattnyc on May 14, 2023 11:54:10 GMT
Ball sings it in Act One.
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Post by danb on May 14, 2023 12:29:27 GMT
Stage height?
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Post by mattnyc on May 14, 2023 12:44:54 GMT
I was in the dress circle, so can’t answer that
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Post by danb on May 14, 2023 13:25:52 GMT
You didn’t bob down with a tape measure in the interval? Rude. 🤣🤣🤣
Pleased to hear that it is worthwhile and that JB has been appropriately cast.
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5,903 posts
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Post by mrbarnaby on May 14, 2023 15:39:32 GMT
I suspect it’s high as there are multiple revolves Can Jamie B act yet?
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Post by newyorkcityboy on May 14, 2023 16:49:08 GMT
I suspect it’s high as there are multiple revolves Can Jamie B act yet? And is he playing it American?!
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625 posts
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Post by chernjam on May 15, 2023 0:04:51 GMT
I was there last night and absolutely adored it. I have to say it’s a show that I’d never seen live and whenever I’d tried to listen to the cast recording, I could never really get into it (and it’s been YEARS since i listened to any of it). So essentially, this was like a brand new ALW show for me. And because of that, I can’t speak to any changes or anything that’s been made to this that (I think?) were done. But that score - man, I wish ALW would write something like that again, now. The set design was absolutely glorious, using gorgeous painted backdrops and the set pieces, while simple were perfect as well . I’m going back in a few days because I really have to see it again now. I thought everyone in the cast was just spot on, even Jamie. So good on him for giving a performance that (at least for me) makes me forget “Moulin Rouge”. Thanks for this Matt - now I'm looking on booking.com to see if I can make a quick trip to London in July just to see this. I can't tell you how much I love that score... Even the incidental scenes "Stop. Wait. Please" "A Memory of a Happy Moment" - those beautiful random motifs still pop into my head from time to time. Not to agree with Michael Ball (and I wonder if he slipped saying it in an interview) but it really was ALW at his peak
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1,499 posts
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Post by Steve on May 15, 2023 1:00:26 GMT
You didn’t bob down with a tape measure in the interval? Rude. 🤣🤣🤣 Pleased to hear that it is worthwhile and that JB has been appropriately cast. I was in the Stalls, and it very much looked to me as if the front row is excellent, with an average sized person having eyes at around stage height. So you'd be looking up and may get a stiff neck, but you would likely see pretty much everything. I was absolutely swept away by the sheer romanticism of this! Jonathan Kent is a genius, and this cast realises Kent's, and Lloyd Webber's, romantic visions to perfection. Spoilers follow. . . Forget everything the Southwark PR department said about this being a chamber piece, so the smaller the stage the better. Cos what Kent does with the Lyric stage is poetry in motion, a sweeping surge of romantic movement and images that took my breath away: Projections suggestive of the fleeting nature of time, and the seasons, whether black and white cinematic images of frozen memories, or colourful birds taking flight, etc, sweep in and across the stage, signalling scene changes in a smooth motion which moves in time with the music. The first half hour, in particular, is a simply dazzling and dizzying flow of romance in motion, in time with Lloyd Webber's glorious romantic music, as projections, stage framings, objects and actors on stage, all move in concert with that music. I felt utterly swept away. It is glorious! "Love changes Everything" is, of course, everywhere in all this, and Jamie Bogyo gets his opportunity to close out the first half (aptly and splendidly) with a bit of it, but yes, the principal position of the song is pitched perfectly in Act 1 as the moment Michael Ball's George enchants Laura Pitt Pulford's Rose. It is an ingenious idea, attaching a most powerful song to a most significant dramatic moment in such a way that it does indeed change everything! Ball has occasionally been known to inflate this song somewhat with bombast, in concerts, but the gentleness and subtlety, the tenderness and the heartfelt sincerity of the way his older wiser Uncle George introduces the song makes it oh so much more meaningful and credible. Kent's experience with romantic operas, like his Tosca for the ROH, evidently informs his choices, his way of giving music primacy and synchronising it with movement and powerful images, creating crescendo upon crescendo of emotion. Opera is often full of silly plot points, that have to be played with passion, and Kent's understanding of how to blend this melodramatic medium with heartfelt conviction shows itself in a kind of a Brechtian bridge between these two worlds: such as the moment he reveals the orchestra that has been hiding behind the curtain at just the moment we need to bridge the operatic and the real; or the moment he shows us a curtain on which caricatures of a theatrical audience are depicted, a reflection of ourselves in period clothing, mouths agape in wonder, reminding us that we too will one day be dead, just like the period audience on the curtain and sundry characters in the show. Kent shows us we are part of this operatic circus, reminding us of the preciousness of every fleeting moment. All this culminates in a life (and death) affirming moment in the second half that feels pure rapturous Carmen in its staging, acting and romantic effect! Laura Pitt Pulford is always brilliant, and she is again here, winding through moments of impetuous and winning humour up into moments of blazing sincerity and passion, as if effortlessly. The passion is infectious, and all actors appear to be giving career bests, to me, swept along by Kent's direction and Lloyd Webber's music. Jamie Bogyo's unfortunate reputation on this board, would appear thoroughly undeserved by his creditably emotive and melodic performance here, even while said reputation actually enhances his character's underdog position in the plot, where it is Alex's destiny to be bested by Uncle George in the same way Jamie's destiny would seemingly be to be bested by Uncle Michael. Fiction and a version of reality collide to create something better than both: fully realised art. For those worried that this version of Aspects has been sanitised by age changes, and the like, I would agree with the creatives that these changes are very necessary in today's climate of performative outrage. But more importantly, I affirm that what we are watching retains a constant frisson of edge and danger: Bogyo's Alex still meets and dances with Rose's daughter, Jenny, while she is played by a child actor, causing audible intakes of breath by sundry audience members; and the adult Jenny's appearance in the red dress, so traumatic to Ball's George as a memory of his first wife, and so connected by Alex to Rose's wearing it, is staged so dramatically as to make many audience members gasp out loud. All in all, this story does have silly elements, but somehow Kent acknowledges that and makes a strength of them, mirroring the ecstatic melodrama of opera to our own need for it, bittering the sweetness of Lloyd Webber's romantic music with an acute awareness of the passage of time and mortality, both for the characters and for us. A uniquely romantic and enchanting musical evening resulting in 5 stars from me.
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