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Post by BVM on Jun 9, 2023 11:33:36 GMT
I'd love to hear how you respond to your second trip. I agree about WiW, but what I like about Aspects is that there are lots of musical motifs that never become proper songs, and I think that's really unusual. In fact, in this new version the hero doesn't even have one single solo song. The show really is one long, unwinding piece of music and I can't think of another musical quite like it in that regard. Yes absolutely! I think it's so well constructed and it really is one long piece of music. I don't really dip into the cast recording as with other shows but rather when have an hour or so free would listen to the whole of one act! I know most people say Sunset (or Phantom) but for me it's where ALW peaked as a composer. |
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Post by actorsinger on Jun 9, 2023 11:39:18 GMT
This is slightly off topic, but I just couldn't resist sharing it here. I love this video. The montage of photos at the start just shows how detailed and dynamic that production was. Sumptuous and intense. The new version is just so lacking in energy and excitement. So disappointing Thanks so much for sharing this video! |
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Post by BVM on Jun 9, 2023 12:23:57 GMT
This is slightly off topic, but I just couldn't resist sharing it here. I love this video. The montage of photos at the start just shows how detailed and dynamic that production was. Sumptuous and intense. The new version is just so lacking in energy and excitement. So disappointing Thanks so much for sharing this video! What a great video - not seen that before. And fab to see those clips of the set, pics of the Prince of Wales and hear Ann Crumb. What ALW did in the 1980's was astonishing. To go from Cats to Starlight to Phantom (via Requiem) to Aspects of Love I think shows incredible versatility. He's had so much flak over last few years and I do wonder if people realise how groundbreaking this stuff was at the time. I'd say these were bigger musical cultural resets than the likes of Six or Hamilton. (And these composers really have not had equally successful follow ups. Though certainly LMM is very versatile between lyrics/music/film/theatre). (I mean take this with a pinch of salt as I am no doubt biased - easily my fave MT composer). |
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Post by newyorkcityboy on Jun 9, 2023 12:33:02 GMT
That's a wonderful video. I have fond memories of the original production and the design was absolutely beautiful. One thing I have always wondered about. I remember reading that they had a full sized Rolls Royce which was used in a scene cut during previews. Did anyone see it or know what the scene depicted? Not sure, but I do know that it hung from the ceiling backstage due to lack of space. So the cast - who were nervous about it swinging above their heads - were relieved to see it go! |
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Post by richey on Jun 10, 2023 0:27:51 GMT
Oh dear. I wanted to like this, I really did but it's a bit of a mess.
It came across as if they hadn't really decided what they wanted to do with it. The contrast with the (unnecessary) video screen and the gorgeous painted scenery was jarring.
The placement of Love Changes Everything is totally bizarre.
Hated the Jenny storyline. Have never had a problem with it before but she came across as really unlikeable and I just kept thinking if Alex actually is trying to resist her why doesn't he just leave?
The three big ensemble numbers (circus/fairground/funeral) were a massive let down. I couldn't understand why each of these were brought so close to the front of the stage instead of using more depth. This was especially apparent in Journey of a Lifetime when it was just looked really cluttered and it was hard to see Alex, Rose, Jenny and George as part of the crowd which I thought was a pity as I actually liked that effect.
Loved the orchestra but thought it strange they were revealed during the two woodland scenes. And when did the melody of "If Only" from Whistle Down the Wind get added to Chanson d'Enfance?
Biggest let down for me was the ending. It just stops dead and needs the LCE reprise.
Oh and we got the laughs when George died which is never a good sign.
On a side note, I was really impressed with the programme. It's nice to have a reasonably priced programme that actually has some decent information on the background of the show and lots of photos as well. Other theatres should take note.
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Post by jl16688 on Jun 10, 2023 19:46:19 GMT
Oh dear. I wanted to like this, I really did but it's a bit of a mess. It came across as if they hadn't really decided what they wanted to do with it. The contrast with the (unnecessary) video screen and the gorgeous painted scenery was jarring. The placement of Love Changes Everything is totally bizarre. Hated the Jenny storyline. Have never had a problem with it before but she came across as really unlikeable and I just kept thinking if Alex actually is trying to resist her why doesn't he just leave? The three big ensemble numbers (circus/fairground/funeral) were a massive let down. I couldn't understand why each of these were brought so close to the front of the stage instead of using more depth. This was especially apparent in Journey of a Lifetime when it was just looked really cluttered and it was hard to see Alex, Rose, Jenny and George as part of the crowd which I thought was a pity as I actually liked that effect. Loved the orchestra but thought it strange they were revealed during the two woodland scenes. And when did the melody of "If Only" from Whistle Down the Wind get added to Chanson d'Enfance? Biggest let down for me was the ending. It just stops dead and needs the LCE reprise. Oh and we got the laughs when George died which is never a good sign. On a side note, I was really impressed with the programme. It's nice to have a reasonably priced programme that actually has some decent information on the background of the show and lots of photos as well. Other theatres should take note. Never a big fan of video screens - people need to remember those who like them go to the cinemas (!) |
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Post by AddisonMizner on Jun 10, 2023 19:55:03 GMT
I have written on here before about my history with this show. I saw the UK tour with David Essex when I was in my teens and absolutely hated it! The problem for me was the story - I just couldn’t get on with it. Everybody was just sleeping with each other, and I found it laughable. I remember saying at the time that “I don’t even think Michael Ball could save this show”.
Skip ahead to me seeing today’s matinee at the Lyric, and it is perhaps my biggest surprise of the year so far - I simply ADORED it! Nothing has changed in the story, but I just don’t have the same issues with it that I had in my teens. The changes are mostly all for the better, and I like the symmetry that has now been created between the two acts, both starting with dressing room scenes. It may be that my tastes have changed in these intervening years, but I actually think the characters and story are emotionally quite complex. The reviews I think have been quite unfair.
It helps that the production is so well-directed and cast. I loved the fluidity of the staging, and enjoyed the projections during scene changes. I remember that the UK tour kept using blackouts, which really stopped the momentum. This was a much better solution. The painted backdrops were occasionally breathtaking!
As for the cast, Michael Ball is fabulous! He oozes charisma, and you can practically feel the star wattage every time he is on the stage. You cannot take your eyes off of him. “Love Changes Everything” makes perfect sense in its new context, and is particularly beautiful in the way it is delivered - not as a huge bombastic anthem, but as an intimate reflection on love. In the past, this song has stuck out for me as one of the weaker numbers in the score, but really fits here. Having seen him perform many times, it was a privilege to see him in this, and it felt really special.
Laura Pitt-Pulford was also very impressive as Rose. She made me well up with tears twice - once after George’s funeral, and then again during “Anything But Lonely”, which was just emotionally raw. I still felt incredibly emotional during the curtain call.
The other roles were good, with Danielle De Neise being another stand-out for me. Anna Unwin was a nice Jenny (and the likeness between her and the younger actress was incredible). Only Jamie Bogyo I found to be a little wooden.
The score is a marvel and sounds glorious here. It often had that Lloyd Webber effect of sending shivers down the spine. I don’t mind the constant reprises - especially when the tunes are this good! In fact, how tunes are used as a tool for recall to earlier times/moments in the show is wonderful, and is therefore perhaps Lloyd Webber’s most complex. Add me to the chorus of voices who want a cast recording! Surely this must be on the cards?
All this to say, I could have quite easily sat through this again a second time this evening.
Forget the naysayers, and GO!
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Post by chernjam on Jun 11, 2023 3:47:34 GMT
I have written on here before about my history with this show. I saw the UK tour with David Essex when I was in my teens and absolutely hated it! The problem for me was the story - I just couldn’t get on with it. Everybody was just sleeping with each other, and I found it laughable. I remember saying at the time that “I don’t even think Michael Ball could save this show”. Skip ahead to me seeing today’s matinee at the Lyric, and it is perhaps my biggest surprise of the year so far - I simply ADORED it! Nothing has changed in the story, but I just don’t have the same issues with it that I had in my teens. The changes are mostly all for the better, and I like the symmetry that has now been created between the two acts, both starting with dressing room scenes. It may be that my tastes have changed in these intervening years, but I actually think the characters and story are emotionally quite complex. The reviews I think have been quite unfair. It helps that the production is so well-directed and cast. I loved the fluidity of the staging, and enjoyed the projections during scene changes. I remember that the UK tour kept using blackouts, which really stopped the momentum. This was a much better solution. The painted backdrops were occasionally breathtaking! As for the cast, Michael Ball is fabulous! He oozes charisma, and you can practically feel the star wattage every time he is on the stage. You cannot take your eyes off of him. “Love Changes Everything” makes perfect sense in its new context, and is particularly beautiful in the way it is delivered - not as a huge bombastic anthem, but as an intimate reflection on love. In the past, this song has stuck out for me as one of the weaker numbers in the score, but really fits here. Having seen him perform many times, it was a privilege to see him in this, and it felt really special. Laura Pitt-Pulford was also very impressive as Rose. She made me well up with tears twice - once after George’s funeral, and then again during “Anything But Lonely”, which was just emotionally raw. I still felt incredibly emotional during the curtain call. The other roles were good, with Danielle De Neise being another stand-out for me. Anna Unwin was a nice Jenny (and the likeness between her and the younger actress was incredible). Only Jamie Bogyo I found to be a little wooden. The score is a marvel and sounds glorious here. It often had that Lloyd Webber effect of sending shivers down the spine. I don’t mind the constant reprises - especially when the tunes are this good! In fact, how tunes are used as a tool for recall to earlier times/moments in the show is wonderful, and is therefore perhaps Lloyd Webber’s most complex. Add me to the chorus of voices who want a cast recording! Surely this must be on the cards? All this to say, I could have quite easily sat through this again a second time this evening. Forget the naysayers, and GO! Thanks for this review... I honestly only enjoyed "Love changes everything" within the context of the show/score. As a standout song perhaps it was overplayed and definitely was bombastic it got annoying to me. I do wish they kept the revisions to that which they made for the US Tour: "Love, Love changes everything, each beginning, each goodbye. Love, Love changes everything how you live and how you die." - know I'm being nit picky, but its the little things that really do make the difference. I'm really trying to make it to London this fall because I don't want to miss this (and Sunset) But seriously, it would be infuriating if they don't make a new recording especially with the new orchestrations. It's long past time for this score to get a new recording. |
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Post by bobbievanhusen on Jun 11, 2023 5:50:06 GMT
There are some odd little changes here and there in the lyrics. I love the song 'Other Pleasures' because it's such a small, reflective song as opposed to the rest of the score, and they changed 1 word and I have no idea why. The lyric was 'You amaze me, where did you come from, you do things champagne could never do' changed to 'You do things the moon could ever do' Bizarre.
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Post by craig on Jun 11, 2023 8:41:21 GMT
Well, this was certainly an interesting night out at the theatre. How can a show be simultaneously 4 stars and 1 star at the same time!?
To start with the bad... This show, as written, is ridiculous to the point of being laughable. The action plays like a farce that isn't in on the joke. Some of the lyrics are clunky and naive. The aggrandising of what seems to be little more than sexual abuse and physical infatuation is uncomfortable. The very polite exploration of thruples and sexual freedom intended not to upset Middle England... For a show about love and lust and obsession, the whole thing was about as sexy as a bout of food poisoning.
What the cast are asked to do is absurd, but it's evident that, probably early on in the life of this production, everyone just decided to fully commit and to go for it. And it... actually works? I loved the movement of the staging and the framing (and reframing) of the action. John Macfarlane's painted backdrops were occasionally breathtaking, particularly the faces at the circus. Laura Pitt Pulford has been exceptional in everything I've seen her in, and she was exquisite here. Vocally and physically beautiful, she leant gravitas to Rose's story and it was her commitment that prevented me from completely taking myself out of the story. Danielle De Niese also sung beautifully and radiated warmth and sexuality in what is a woefully under written role.
Michael Ball put in a superstar turn, all with a bit of a nod and a wink, in my opinion. The show would have benefitted from him committing to the same extent at Pitt Pulford and Jamie Bogyo. His Love Changes Everything made absolutely zero sense immediately after proffering that love is fleeting and to just enjoy the moment. It was great to hear him sing it though. Bogyo... better than expected! I was honestly lost for words at the promo around Moulin Rouge and not looking forward to seeing him in this. He was obviously greener than the performers around him, but I thought very committed to the role and sang it very well.
To end on a high, I completely agree that this might be Andrew Lloyd Webber's finest score. It's so sweeping and romantic. It's dramatic and bombastic in places, and tender and subtle in others. Really quite wonderful.
My partner and I were discussing ALW at dinner after the show and both agreed that Sondheim has really benefitted from the original runs of his shows being far less long running than ALW. I think the success of shows like Phantom, Cats, Evita and Sunset have kept his shows very routed in that overblown 80s aesthetic and mindset. Sondheim's shows have had a bit more space to breathe and evolve. Now ALW's original productions are finally closing, I'm hoping we get more creative reimaginings on this kind of scale over the next few decades.
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Post by bobbievanhusen on Jun 11, 2023 9:11:27 GMT
The aggrandising of what seems to be little more than sexual abuse and physical infatuation is uncomfortable.
If i may ask, What parts of the story do you feel were 'little more than sexual abuse'?
when you talk about the physical infatuation being uncomfortable, do you mean Jenny's feelings for Alex?
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Post by craig on Jun 11, 2023 9:41:43 GMT
The aggrandising of what seems to be little more than sexual abuse and physical infatuation is uncomfortable. If i may ask, What parts of the story do you feel were 'little more than sexual abuse'? when you talk about the physical infatuation being uncomfortable, do you mean Jenny's feelings for Alex? I think Rose is absolutely abusive in her treatment of Alex and, yes, Alex and Jenny’s relationship is certainly uncomfortable. |
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Post by newyorkcityboy on Jun 11, 2023 11:09:46 GMT
The word ridiculous comes up a lot with regard to the story of this show. Yet I never found it so in the original. (Certainly no more ridiculous than a flying green witch or disfigured genius 😀)
A Little Night Music plays with the notion that love turns us into fools. Aspects should be more tragedy than farce, with a grim kind of inevitability. George’s wife and daughter - and finally his mistress - all fall for Alex, who only really wants Rose. Then, at the end, when she finally needs him, he walks away, because he feels guilty. For the death of her husband, no less! None of which should be a laughing matter. If it is then the direction has gone seriously askew & I can’t wait to see for myself…
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Post by BVM on Jun 11, 2023 11:10:07 GMT
Oh dear. I wanted to like this, I really did but it's a bit of a mess. It came across as if they hadn't really decided what they wanted to do with it. The contrast with the (unnecessary) video screen and the gorgeous painted scenery was jarring. The placement of Love Changes Everything is totally bizarre. Hated the Jenny storyline. Have never had a problem with it before but she came across as really unlikeable and I just kept thinking if Alex actually is trying to resist her why doesn't he just leave? The three big ensemble numbers (circus/fairground/funeral) were a massive let down. I couldn't understand why each of these were brought so close to the front of the stage instead of using more depth. This was especially apparent in Journey of a Lifetime when it was just looked really cluttered and it was hard to see Alex, Rose, Jenny and George as part of the crowd which I thought was a pity as I actually liked that effect. Loved the orchestra but thought it strange they were revealed during the two woodland scenes. And when did the melody of "If Only" from Whistle Down the Wind get added to Chanson d'Enfance?Biggest let down for me was the ending. It just stops dead and needs the LCE reprise. Oh and we got the laughs when George died which is never a good sign. On a side note, I was really impressed with the programme. It's nice to have a reasonably priced programme that actually has some decent information on the background of the show and lots of photos as well. Other theatres should take note. Agree re the three big ensemble numbers. Biggest let down of the evening. HMTWATD should be breathtaking. Was a damp poorly lit squib. So Chanson d'Enfance as originally written contained the If Only melody. It was recorded as such by Sarah Brightman at some point. The If Only part got dropped - in previews I think - then ended up in Whistle. So it's kind of been restored. Totally agree re programme. Great to have some decent show pics ready at start of run and in programme. And indeed for them not to have doubled the price and also filled it with ads like the Wicked combined one stop brochure/programme. In a world where programme content seems to be nosediving this was a very welcome surprise. |
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Post by chernjam on Jun 12, 2023 20:35:59 GMT
The word ridiculous comes up a lot with regard to the story of this show. Yet I never found it so in the original. (Certainly no more ridiculous than a flying green witch or disfigured genius 😀) A Little Night Music plays with the notion that love turns us into fools. Aspects should be more tragedy than farce, with a grim kind of inevitability. George’s wife and daughter - and finally his mistress - all fall for Alex, who only really wants Rose. Then, at the end, when she finally needs him, he walks away, because he feels guilty. For the death of her husband, no less! None of which should be a laughing matter. If it is then the direction has gone seriously askew & I can’t wait to see for myself… As one who hasn't seen the new production, I guess that's why I've never had a problem with the story line was that I always saw it as tragic. They are all selfish, self-centered individuals who, as human beings desire love, but can't see their greatest problem. When its all about a person's wants, needs and pleasures and not about the other, it's not "love." I mean from the very get go it's obvious the kid is infatuated with an actress - who's down on her luck and "might as well enjoy the moment." Perhaps that type of insight doesn't guide the director/direction - but that's how I've always approached this piece |
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Post by max on Jun 12, 2023 20:51:54 GMT
The word ridiculous comes up a lot with regard to the story of this show. Yet I never found it so in the original. (Certainly no more ridiculous than a flying green witch or disfigured genius 😀) A Little Night Music plays with the notion that love turns us into fools. Aspects should be more tragedy than farce, with a grim kind of inevitability. George’s wife and daughter - and finally his mistress - all fall for Alex, who only really wants Rose. Then, at the end, when she finally needs him, he walks away, because he feels guilty. For the death of her husband, no less! None of which should be a laughing matter. If it is then the direction has gone seriously askew & I can’t wait to see for myself… As one who hasn't seen the new production, I guess that's why I've never had a problem with the story line was that I always saw it as tragic. They are all selfish, self-centered individuals who, as human beings desire love, but can't see their greatest problem. When its all about a person's wants, needs and pleasures and not about the other, it's not "love." I mean from the very get go it's obvious the kid is infatuated with an actress - who's down on her luck and "might as well enjoy the moment." Perhaps that type of insight doesn't guide the director/direction - but that's how I've always approached this piece The shooting incident is the easiest to deride as ridiculous, along with the rapid segue into 'She'd Be Far Better Off With You', but I've always enjoyed it as part and parcel of these people who not only feel deeply, but role-play madly (and of course early on we see Rose teaching Alex some of the lingo of theatre - 'resting' - and then playing a scene when in George's house alone). It's there in the music when, soon after, Rose throws Alex out. "Goodbye Alex, goodbye forever" (so 'over dramatic' musically and lyrically) - I can't help feeling that though Rose didn't enjoy being shot, she's enjoying wringing every bit of drama out of it now, playing the wounded femme fatale in a way that completely defeats Alex who takes it all too seriously. In fact, straight after he's gone she seems to admit she over-acted it to get rid of him, and be with George. Now, none of that necessarily makes these characters 'relatable' (awful word) to a general audience - but I'm quite surprised/disappointed at how many audience members seem to plant their flag in the ground of 'I'm ordinary me, nothing strange about me, and mustn't be shown any of that weird stuff, thanks'. Um...maybe don't go to the theatre, if you can't notice some hint of your own behaviour in a version that's writ large. |
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Post by danb on Jun 12, 2023 21:25:36 GMT
As one who hasn't seen the new production, I guess that's why I've never had a problem with the story line was that I always saw it as tragic. They are all selfish, self-centered individuals who, as human beings desire love, but can't see their greatest problem. When its all about a person's wants, needs and pleasures and not about the other, it's not "love." I mean from the very get go it's obvious the kid is infatuated with an actress - who's down on her luck and "might as well enjoy the moment." Perhaps that type of insight doesn't guide the director/direction - but that's how I've always approached this piece The shooting incident is the easiest to deride as ridiculous, along with the rapid segue into 'She'd Be Far Better Off With You', but I've always enjoyed it as part and parcel of these people who not only feel deeply, but role-play madly (and of course early on we see Rose teaching Alex some of the lingo of theatre - 'resting' - and then playing a scene when in George's house alone). It's there in the music when, soon after, Rose throws Alex out. "Goodbye Alex, goodbye forever" (so 'over dramatic' musically and lyrically) - I can't help feeling that though Rose didn't enjoy being shot, she's enjoying wringing every bit of drama out of it now, playing the wounded femme fatale in a way that completely defeats Alex who takes it all too seriously. In fact, straight after he's gone she seems to admit she over-acted it to get rid of him, and be with George. Now, none of that necessarily makes these characters 'relatable' (awful word) to a general audience - but I'm quite surprised/disappointed at how many audience members seem to plant their flag in the ground of 'I'm ordinary me, nothing strange about me, and mustn't be shown any of that weird stuff, thanks'. Um...maybe don't go to the theatre, if you can't notice some hint of your own behaviour in a version that's writ large. I think you’re being a bit reductive and condescending, and more than a little bit judgemental of people that DON’T want to spend an evening in the theatre watching AOL, for whatever reason. The box office will show how popular & accepted this show is, which appears to be the same as most everything else atm. Quiet in the week and busier (but not busy) at weekends. To 75% of the theatregoing public its just that Michael Ball show with LCE in it and they don’t really know what its about…love and stuff. 😬🤦♂️ |
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Post by max on Jun 12, 2023 22:14:24 GMT
The shooting incident is the easiest to deride as ridiculous, along with the rapid segue into 'She'd Be Far Better Off With You', but I've always enjoyed it as part and parcel of these people who not only feel deeply, but role-play madly (and of course early on we see Rose teaching Alex some of the lingo of theatre - 'resting' - and then playing a scene when in George's house alone). It's there in the music when, soon after, Rose throws Alex out. "Goodbye Alex, goodbye forever" (so 'over dramatic' musically and lyrically) - I can't help feeling that though Rose didn't enjoy being shot, she's enjoying wringing every bit of drama out of it now, playing the wounded femme fatale in a way that completely defeats Alex who takes it all too seriously. In fact, straight after he's gone she seems to admit she over-acted it to get rid of him, and be with George. Now, none of that necessarily makes these characters 'relatable' (awful word) to a general audience - but I'm quite surprised/disappointed at how many audience members seem to plant their flag in the ground of 'I'm ordinary me, nothing strange about me, and mustn't be shown any of that weird stuff, thanks'. Um...maybe don't go to the theatre, if you can't notice some hint of your own behaviour in a version that's writ large. I think you’re being a bit reductive and condescending, and more than a little bit judgemental of people that DON’T want to spend an evening in the theatre watching AOL, for whatever reason. The box office will show how popular & accepted this show is, which appears to be the same as most everything else atm. Quiet in the week and busier (but not busy) at weekends. To 75% of the theatregoing public its just that Michael Ball show with LCE in it and they don’t really know what its about…love and stuff. 😬🤦♂️ I'm not talking about whether it's doing well, or badly, at the box office; and certainly not saying that people ought to want to see it. People can do what they like - if it fails, fine. I'm just highlighting the 'that's not normal' objection, when the hinterland of our actions and desires might be played out quite theatrically but is nevertheless still there if we care to see it. Some prefer a more photographic naturalism, in order to see it - though TV that looks like realism can be equally histrionic in its own way. Audiences that stumble across the show due to the star or a well-known song might well be receptive to it. I remember stepping out of 'Sunset Boulevard' at Wimbledon and a woman said "I don't know what I expected, but it wasn't that; I thought it was just going to be a nice story" (with Danny Mac in it) - it sounded like she got way more than expected, and was reeling a bit, but enjoyed that sensation. Nice. So I'm never condescending or judgemental about people who come to a show via that initial magnet. |
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Post by newyorkcityboy on Jun 13, 2023 7:53:30 GMT
As one who hasn't seen the new production, I guess that's why I've never had a problem with the story line was that I always saw it as tragic. They are all selfish, self-centered individuals who, as human beings desire love, but can't see their greatest problem. When its all about a person's wants, needs and pleasures and not about the other, it's not "love." I mean from the very get go it's obvious the kid is infatuated with an actress - who's down on her luck and "might as well enjoy the moment." Perhaps that type of insight doesn't guide the director/direction - but that's how I've always approached this piece The shooting incident is the easiest to deride as ridiculous, along with the rapid segue into 'She'd Be Far Better Off With You', but I've always enjoyed it as part and parcel of these people who not only feel deeply, but role-play madly (and of course early on we see Rose teaching Alex some of the lingo of theatre - 'resting' - and then playing a scene when in George's house alone). It's there in the music when, soon after, Rose throws Alex out. "Goodbye Alex, goodbye forever" (so 'over dramatic' musically and lyrically) - I can't help feeling that though Rose didn't enjoy being shot, she's enjoying wringing every bit of drama out of it now, playing the wounded femme fatale in a way that completely defeats Alex who takes it all too seriously. In fact, straight after he's gone she seems to admit she over-acted it to get rid of him, and be with George. Now, none of that necessarily makes these characters 'relatable' (awful word) to a general audience - but I'm quite surprised/disappointed at how many audience members seem to plant their flag in the ground of 'I'm ordinary me, nothing strange about me, and mustn't be shown any of that weird stuff, thanks'. Um...maybe don't go to the theatre, if you can't notice some hint of your own behaviour in a version that's writ large. You’re right, the shooting - and it’s aftermath - is completely in character for all three protagonists. Rose is a Drama Queen (literally) whist Alex is a hothead with a gun, an impressionable boy pretending to be a man. George is a laid-back man of the world, so is blasé about the whole thing, especially since no one’s been seriously injured. (Not even his precious painting.) Rather than fan the flames he tries to defuse the situation, leading to the only genuinely witty number in the show. (I’m not sure how this plays with Alex being American, however; it’s written for two self-effacing Englishmen who are trying - and failing - to do what they perceive as the right thing.) |
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Post by max on Jun 13, 2023 8:05:27 GMT
NewYorkCityBoy - good point about the 'self effacing' English males (as they previously were) who'd do anything to avoid a scene and consequences, however ridiculous their burbling is instead. Indeed, how does that work with an American Alex?
Also, someone up thread said that the show lacks an outsider to comment on the strangeness - a Madame Armfeldt as in 'A Little Night Music'. So I wonder how having an outsider American, who does't fulfil that role works.
Guess I'll have to take a look soon.
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Post by max on Jun 13, 2023 8:08:13 GMT
Well this is wild.
I thought this Tweeter was joking, but checked The Stage website, and it's real. Lol.
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Post by jr on Jun 13, 2023 11:09:28 GMT
I generally don't like ALW but I was given a ticket and thought I would give it a try. Despite the reviews and some comments here, I quite liked it. Acting and singing was very good (no Michael Ball on Mondays, that was a plus for me). I was very surprised by Danielle de Niese, I had seen her in concert before and thought she was a bit OTT but here she is well directed and controlled; in my opinion she has the best number (the wine song at the funeral). The set is nice and projections are well used, the pace is quite good too. My main issue is the music, syrupy and repetitive (how many times can you hear the motive for Seeing is believing and Love changes everything?!) but the live orchestra was fantastic.
The plot might be slightly ridiculous but I don't find anything icky about it: the characters don't control their passions and it obviously affect their lives. It always baffles me some members of the audience reactions to sex on stage: silly giggles, ohs and ahs, I find it very childish behaviour.
The end was quite abrupt and actually had to look online for it because I wasn't sure what happened there, so don't get distracted at the very end. It seems the show has been heavily rewritten according to the original production, probably tightening it up.
I won't see it again but would recommend it for a nice evening. And there is AC in the theatre!
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Post by anita on Jun 15, 2023 9:31:47 GMT
New Cast CD? Looks as if they are recording according to facebook?
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128 posts
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Post by magnificentdonkey on Jun 15, 2023 9:43:15 GMT
New Cast CD? Looks as if they are recording according to facebook? What gave you the impression? Could you provide a link, please? |
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Post by anita on Jun 15, 2023 10:12:14 GMT
New Cast CD? Looks as if they are recording according to facebook? What gave you the impression? Could you provide a link, please? Can't find it now. It was film of orchestra & Rose & Alex in what looked like a recording studio, singing. |
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