Aspects of Love w/ Michael Ball - Lyric

This is an interesting point, and one I think true of everything he has written this side of ‘Phantom’. He zooms in on ‘dark’ characters assuming it creates a dramatic edge. The stories he chooses to tell rarely have enough ‘story’ to power three hours of truly gripping drama so, rather than just giving us two hours of gripping drama and great tunes he over eggs the pudding. The reliance on comedy songs and pastiches has become less but he does still essentially write the same show over and over again….and if you like it you’re ok. (NB I didn’t see Stephen Ward, just in case this was the show where he rewrote his musical rule book). In fact, the time that he has done something lighter ; ‘School of Rock’ was most enjoyable and left me happier than anything since ‘Sunset’.

Hmm, 1 Star from 'The Stage' (Sam Marlowe).
"Return of Michael Ball can’t redeem this baffling revival of the thin, sugary musical or excuse its offensive sexual politics".

I do wonder how much this is going to be reviewed via a display of 'currently appropriate opinions' re. Jenny / Alex storyline, despite the fact that someone under the age of consent can definitely have 'feelings' for someone older, but it's taboo to say so even if neither party acts on them. That said, away from the Jenny storyline, 'She'd Be Far Better Off With You' is probably a red rag to a bull - though personally I like it.

I was sat in the balcony this evening and it was one of the more bizarre evenings I’ve spent at the theatre. Take away the razzmatazz of press night, the whole thing was just… extraordinary.

The extent of my knowledge before was Love Changes Everything, ALW and Michael Ball. But even the latter could do nothing to save this mess of a musical. It was soon blindingly obvious why it took decades to revive it and that’s proving to be a poor judgment now.

Look, I get from posts on here and social media that some people have a deep affection for this show. I hold just one opinion among many. I won’t rake over old ground on the intricacies of why I felt this was so poorly executed. God knows the reviews will do that tomorrow but yes, the score is average, some of the more banal lyrics fall totally flat (the fact it’s sung through does not help matters) and the plot is completely dull.

That’s before you mention how gross some of the relationships between the characters are. It got even creepier when Jenny was introduced, what on earth was that “I want to be your first” song all about?! The flirting between young Jenny and Alex was also uncomfortable, given she was played as a very young girl.

This was the first time I’ve witnessed paying audience members laughing out loud at what was being served up on stage. The characters and story was just utterly unbelievable and implausible. Alex and Rose’s ridiculous exchanges prompted much of the laughter but, in particular, a moment at the end when Alex sings “this is my fault”.

No spoilers but given the seriousness of what has just unfolded on stage, it jarred to hear the audience reaction. I did feel dreadfully sorry for anyone enjoying the show as it was so blatantly disrespectful but also, seemingly, an involuntary response from the balcony audience.

It was so hilariously bad (I did not vocalise my amusement unlike many others) and cringeworthy that it was almost good, if you like that sort of thing. As others have mentioned, many people left and did not return during the interval. Not exactly swathes but more than any other show I’ve been to, at least 10-20 people in paid seats.

OK, I’ve seen Michael Ball perform a great song in Love Changes Everything. I’m happy about that. But, in my opinion, this show ought to have been left in the past. Its revival strikes me as nothing more than a vanity project and the reviews are going to be bad in the morning, if the chatter on the way out of the auditorium was anything to go by.

I went in with reasonable expectations but I can’t honestly vote anything other than one star for this car crash. Laura Pitt-Pulford did well with the material she given. Michael Ball was Michael Ball. Jamie Bogyo was wooden and ineffective.

One star.

Time Out gave it 3 out of 5

"why go to all this effort to revive it?



The answer is fairly apparent: its elegant, string-driven, sung-through score is up there with Webber’s best, and includes ‘Love Changes Everything’ is possibly his most beloved song."

www.timeout.com/london/theatre/aspects-of-love-1-review

Theatre weekly - 3 out of 5:

"the sung through score is particularly beautiful; gentle with just enough power ballads to convince you there’s some form of romance to be found here. Obviously, there’s Michael Ball pulling out all the stops with ‘Love Changes Everything’ receives a rapturous welcome in the auditorium.

John Mcfarlanes set blends modern with traditional, a sliding screen featuring video projections rather niftily takes us from one scene to the next, while the backdrops are formed of watercolour style landscapes (a nod to George’s love of art forgery) indicating whichever city this piece of the story is set in.

The cast all make a good enough job of what they’ve got to work with, but it’s very clear that Michael Ball is the star of the show, not just with vocals but also the way each line is delivered with perfect timing, he clearly knows this show inside out.

If love really does change everything, perhaps it should have started with the plot, which will baffle some new audience members, but those who remember the original will undoubtedly revel in seeing it return in a reworked and modernised production, with the return of Michael Ball to Aspects of Love being a wonderful full circle theatrical moment."

theatreweekly.com/review-aspects-of-love-at-lyric-theatre/

Very mixed feelings about this one. I'm relatively new to musicals and decided to go into this completely blind. I was just about with it for the ride in the first half, despite the soap-ish elements of the plot, but it completely lost me in the second half, specifically with the introduction of Jenny and the various plot developments that that brought about. The audience, as I can see capybara also experienced, was laughing at various points and I couldn't quite tell if they were laughing with it or at it - though I suspected the latter. Baffling.

I was expecting a lot from the score but it left me a little cold. It was 'fine' but I didn't have any stronger feelings than that. No songs really stood out to me as showstoppers (at least in their composition) and 'Love Changes Everything' unfortunately doesn't do anything for me.

That said, if we're looking for positives, I thought Laura Pitt-Pulford was superb and the clear vocal standout. I was also really impressed by Danielle de Niese. The orchestra sounded wonderful and the set design was great! It made sense when I read afterwards that the man who painted all the backdrops has a background in ballet and opera because it felt very ROH-esque.

I suppose my main criticisms are with the book and score than the production itself. I didn't not enjoy myself but, on balance, it's probably not quite my cup of tea.

For the Monday performances only

If that is the standard of the writing/editing at The Stage, I am glad I stopped paying.

The reviews do seem at odds with the democratic consensus here with 5 stars being 1st and 4 stars being 2nd. Not that that is particularly unusual. Thank God this is London, where reviews have a lesser impact on sales, and not Broadway

Anyway, we all know the only review that matters is Micky Joe Theatre's, which I patiently await. (Though I imagine he'll have similar criticism of the story).

Seriously though, it's based on a novella which it follows very closely. Criticising the plots of ALW musicals seems to be a recurring theme currently. (Personally I am more or less happy with any plot if it inspires him to write sensational melodies which Aspects of Love clearly did IMHO).

I am finally going tonight so will see for myself!

I wonder where this leaves Michael Ball's book on his journey with 'Aspects Of Love'. Though 'the bad reviews' is a meaty chapter it must be pretty upsetting to have been the prime mover behind this production; and he'd have to spend page space justifying the piece. Venturing into 'why they're wrong' could mean getting into all kinds of difficult territory.

I guess there's a lesson here for the Producers re. management of Press Nights too - if it's true that people in the Balcony were openly mocking it. Whatever it takes - find a full theatre's-worth of devotees for Press Night.

I agree with all of this.