Aspects of Love w/ Michael Ball - Lyric

It would, but I don't think there would be a part for her in it. The lead roles are all very young, aside from the priest.

Give us Woman in White. The 2017 Charing Cross Theatre production was just wonderful. It deserves soooo much more love; although I'd happily settle for Aspects!

The original production of The Woman in White isn't some sacred cow or huge missed opportunity to see, though. It was rather rough to sit through. The motion sickness and very questionable direction aside, the performances weren't exactly stellar. You didn't miss a good one that went under the radar!

I LOVED the version at the Charing Cross Theatre though, performed appropriately, as essentially a chamber piece. It's a good show. The original production was dreadful though, despite the huge talent attached.

I've always wanted to see The Beautiful Game. I've no idea if it's any good; it's just one I missed out on.

It’s not The Woman in White…..

It’s….

ASPECTS OF LOVE!

Wonder what will go into the Apollo between Jerusalem and Aspects of Love? Everybody's Talking Abaout Jamie must not be returning for a while then, if at all?

If it is Aspects of Love, I'd love to see Kelly Price reprise her role from the Hope Mill production. Her performance of Anything But Lonely was worth the ticket price alone.

I remember enjoying the David Essex tour overall, but do remember the music being quite repetitive and reused from other shows. It's also one of those shows that could use less singing, I remember quite a few moments of cringing when people started singing, sometimes just speaking is ok.

If this is with Michael Ball then it seems a bit of a vanity project as he is completely unsuitable for George.

I love this, because pretty much everyone I've ever met in "the biz" or just a theatre lover, or on here even has absolutely loathed that tour. You're the first person I've encountered who liked it, which is great! I am just happy it clicked for you.

I liked Jerome Pradon as George at the Southwark Playhouse. But then, I always like Jerome.

I liked the tour! But I can't honestly say if it was just because I was so happy to finally see a production - I was too young for the original but grew up listening to the OLC. Plus I always love Matt Rawle in anything he does. I do remember being very cross about David Essex but then relieved he was actually fine. Also had a little chuckle at two ladies next to me asking during Love Changes Everything if it was David Essex singing (we were front row!)

It's an odd one, 'Love Changes Everything'. It got hammered on PR. Implied as the biggest song from the show. Always the first song from the show to land on any ALW compilation released and yet its the opening number. Over before it's begun. When I saw it, as soon as that song was finished - despite it not being a particularly good song (imo) - everything that came after felt anti-climatic. 
ALW also did it with the rewrite of Love Never Dies. Opens with (arguably) the shows biggest number, 'Til I Hear You Sing'.

Its like after Phantom, the pressure of writing a solid melody for an overture that could become a song in the show got to him* (JCS, Starlight, Phantom all have these hugely identifiable singable melodies lead overture the show), ever since he's not really been able to match it and toyed with different ways to overture shows with varying degrees of lesser success. 

I feel like ALW's calling card was once the big overture that stated the case for each musical and for whatever reason he abandoned that with this show and just plonked the full song in instead, kinda like opening Evita with the full 'Don't Cry for me Argentina' (granted context plays a huge part in placement). 

*Not necessarily saying he wrote the overture first in each instance, but had he lifted the overture from songs written for the show (which is likely) the pressure was there to write a big number that has the power and potential to open show, which must have been daunting.