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Post by ladidah on Aug 21, 2024 12:56:08 GMT
Oh goodness, glad she was okay! We had a fly on the first night that would not leave the stage, and was visibly flitting about. I guess it added to the rural charm. I saw the fly on the stage but I also saw a mouse run up the aisle past me in the stalls. A few people saw it but fortunately there were no screams. I don't think it was part of the show. The fly and the mouse should be friends... |
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Post by sph on Aug 21, 2024 14:36:19 GMT
Oh goodness, glad she was okay! We had a fly on the first night that would not leave the stage, and was visibly flitting about. I guess it added to the rural charm. But on the other hand, maybe he beat out many other flies for the role? Or at the very least was trying to pad out his CV with a concert appearance? |
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Post by ladidah on Aug 21, 2024 14:43:03 GMT
He certainly made an impact
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Post by rayc on Aug 21, 2024 15:07:40 GMT
Apropos; spotting celebrities: When I left Drury Lane Tuesday afternoon, I turned left out of the theatre and bumped straight into the Good Lord himself with his little dog!
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Post by Steve on Aug 21, 2024 15:20:24 GMT
I found the laughter at Jud really strange too, especially as it was so perfectly played by the actor. Nothing about him was funny. He was introduced comedically, and played many of his lines comedically, as well:
The first we see of him in this production, he's striding in a straight line from audience right to audience left, carrying a log over his shoulder, walking at a slow fixed pace, looking at noone. Curly sees him and says "Hello Jud." In response, Jud immediately answers "Hello Yourself" in a monotone, without looking at Curly, and exits.
Everything about this interaction is socially surprising, and consequently funny. Jud's appearance and behaviour is surreal and odd. Typically, Jud Fry is depicted as scheming and sinister, his eagle eyes ever aware and affronted by everyone around him, his every action and word threatening, but this Jud is completely removed from the world, utterly uninterested in anything but going from A to B in a straight line. The promptness of his reaction indicates that he is aware of everything around him even without looking at it, which appears almost supernatural. The immediacy of his response also suggests politeness to Curly, which is dissonant, since he is uninterested even to glance at Curly or Aunt Eller.
The audience laugh because it is unexpected for a character to walk from A to B in a straight line without checking out his surroundings. The audience laugh because it is unexpected for a character to know what's around him without looking. The audience laugh because Judd's monotone shows he doesn't give a fig either way.
If we were to try to psychoanalyse this behaviour, we'd say this Judd was on the spectrum, averse to and uninterested in his surroundings, but we have no time to think these thoughts, because the tableau all happens so quickly, so surreally and so bizarrely, that we just laugh in surprise.
We have introduced Jud as a comedy character.
Now, take his next appearance, when Curly visits his cabin. In the movie, Rod Steiger's Judd is scheming and steaming to kill from the moment Curly enters the cabin, full of affect and attitude. Tosh Wanogho-Maud's Jud, by contrast, once again, is blank, uninterested and not looking. Rather than scheming, he has no affect at all.
Curly asks about his gun. Jud says it's a Colt 45, so Curly asks what he does with it: Once again, immediately, Wanogho-Maud's Jud answers immediately in a monotone, without looking: "Shoot things."
So once again, this Jud isn't hiding anything (he's quick to answer), he has no feelings either way about his matter-of-fact answer (the monotone) and he isn't looking (neither sociable nor inimical with Curly).
The audience are laughing it up again because everything about Jud's behaviour makes no social sense. The uninvolved monotone, the polite promptness, the not even bothering to look at Curly, none of this behaviour syncs up with the idea that this man with the gun is contemplating killing anyone, yet his behaviour is so unpredictable that he just might. It makes no sense, so they laugh.
Once again, psychologically, the only explanation that makes sense of this behaviour is that this Jud is on the spectrum, but once again, the audience (including me) have no time in the moment to think suchthoughts, so we just laugh at the surprise of it all.
The first emotion we do see from Tosh Wanogho-Maud's Jud in the whole show is happiness, as when Curly points out the porn on his wall, this Jud is positively delighted by his porn collection and starts beaming innocently, and sharing his porn collection with Curly.
One frequent cue to recognising comedy characters is shows is that they have base preoccupations (they prefer food or sex, for example, to talking or philosophy), so the fact that the first emotion we get from Jud is glee over his porn collection confirms to the audience their judgement that this Jud is likely going to be good for laughs.
Of course, he's NOT really, but this show's Jud feels like that, at least at first, and it's hard to forget your first impressions, so once the audience has started laughing, it's hard to stop.
I suspect that the laughs were intended by the director as a way to throw us off from thinking about previous Juds, and show us something we haven't seen before.
On a side note, Tosh Wanogho-Maud's magnificent, bass-voiced, Paul Robeson-esque "Lonely Room" was the most powerfully sung song in the show, for me, where he released in song all the explosive emotions that never come out of Jud's speaking voice, and in context that he may be on the spectrum, I think that makes it even more memorable.
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Post by Dr Tom on Aug 21, 2024 16:49:47 GMT
He was introduced comedically, and played many of his lines comedically, as well: I found that fascinating to read, but my brain can't work like that, as I didn't pick up on any of that. But well done to Tosh for adding such a perfect backstory and getting it across to so many people in the audience from the moment he walked on stage. |
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Post by longinthetooth on Aug 21, 2024 20:15:34 GMT
I was there on Tuesday afternoon. Believe it or not, this was the first time I had ever seen Oklahoma! on stage. I'm still on the fence - parts I loved, other parts were just ok.
I wasn't keen on Phil Dunster. For a start I've never watched Ted Lasso, and therefore hadn't heard of him. My reaction when he first came on stage and started to sing was - "oh". He was in the ok category I mentioned above, but I wouldn't recommend a career in musical theatre for him. Zizi Strallen? She has an amazing voice, but wasn't Laurey for me. She was just too much 'in your face' and brash for me. However, she was a star in the ballet - but we all know she's a great dancer.
On the contrary to some opinions, I did not find Jud a comedic figure at all - I found him chilling, and with obvious mental health issues, and so I was shocked to hear people laughing. I also thought Tosh was quite brilliant, the outstanding performer of the show for me. Clearly I saw him differently to most people!
I know the story doesn't work out that way, but I really felt it should end with the uplifting, thrilling 'Oklahoma!' - it all seemed to go a bit odd after that, as though they were all in a hurry to finish it - Jud's dead, cobble together a quick trial so that Curly gets off, and then we can all go home.
Having been at Something Rotten a fortnight ago and not spotting a single famous person, it was hardly surprising I didn't see anyone this week either. However, I am hopeless at celeb spotting. I didn't even get to see the fly and the mouse! Even if I do see someone who might be well known, I usually convince myself that it was merely a lookalike!
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Post by londonmzfitz on Aug 21, 2024 20:40:00 GMT
There were a couple of actors* from the Ted Lasso series in the audience Tuesday evening, probably what provoked the audience members in the know. It's hugely popular in the US; Phil Dunster plays one of the main leads, big love interest in the series. (*Trent Crimm and Colin, from pics on facebook). Three loud American girls standing across from the Theatre making a lot of noise about how far they'd traveled for this and how they were going to make the most of it. Early exits after the actors left the stage heading for stage door.
No laughter at Judd on Monday, that I'm aware of. Fully threatening in his posture on stage entry.
But that blooming fly on Monday!
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Post by Steve on Aug 21, 2024 22:05:19 GMT
Tonight was great! Joanna Riding slipped and fell in act two, but seemed okay. She played it off very well between herself and Phil ad-libbing. Got a great reaction from the audience Yes, last night's third and last performance was glorious, I felt! So much more than a concert. Fourth Wall are marvellous at this!
And thank goodness Joanna Riding was ok, and I thought the way she got the show on the road again was masterful. Some spoilers follow. . . Joanna Riding was killing it as the feisty but feeling Aunt Eller, whether pointing her gun at people comically forcing them to dance, physically cosying up to the cowboys, or just gently reading the room about the hidden affection Curly and Laurey had for each other, and when she pounced forward to warn Curly that he was about to get stabbed in the eye by Jud, she slipped and fell onto her bottom, causing the audience to gasp in concern, whereupon she spoke her line from the ground" "Curly, what you doing!?"
Phil Dunster's Curly acknowledged her fall: "Doing? You alright?"
A total pro, Riding responded in character: "Yeah. . . I was trying to DISTRACT YOU!" As if her fall was part of her plan to save Curly's life lol!
Massive relief and cheers from the audience followed, who then started clapping along with the music, caught up in the atmosphere of unexpected excitement. Anyway, personally, I don't think Dunster, an actor who can sing passably, could have performed Curly any better last night. His singing deliberately evaded the lower registers, resulting in a sensitive and small and sweet sounding Curly, but I felt the tenderness of his voice lent charm to his swaggering cowboy exterior. Possibly with two performances under his belt (typically the thirteenth performance in front of an audience would be an ideal press night lol), he boldly increased his volume to match Strallen's classical soprano belt, in their duets, and they came across as a typical Shakespearian comedy match, a Beatrice and Benedick, sniping strips of each other, while secretly caring a whole lot. I agree that Zizi Strallen's Laurey was furious glaring bitter lemons right from the off, her powerful soprano backing up her inner turbulence, certainly more bitingly bitter than her sister's sweeter prom performance (which I saw from standing), so perhaps there was a bit of "Taming of the Shrew" about this production, with Zizi Strallen's uncontrollable roiling emotions contrasting with Dunster's more controlled controlling easiness, but, for me, ultimately, the feisty caustic rapport Strallen built with Dunster reminded me of Scarlett Strallen and Mark Umbers's chemistry in "She Loves Me" at the Menier, which was one of my favourite romances, so I loved this duo together gradually smoothing out each others' creases.
As Will Parker, Jordan Shaw was so likeable and winning, grinning up a buoyant joyous storm of enthusiasm for life, and delightfully silly in his interactions with Irvine Iqbal's bowler-hatted bass-voiced thundering comic victim of circumstances Ali Hakim, who came off like one of Beckett's tramps, in Waiting for Godot, hilariously unable to escape these pesky cowboys and farmers no matter how knowing and sly his forceful personality and frame. As suggested above, Christina Bianco's high-pitched squeaky Ado Annie was effusively brightly dopily funny snaring these aforementioned comedy characters into her inadvertent spider's web.
Given the strangely benign set-up of Jud Fry's character (see my post above), I felt the ballet sequence was especially deeply disturbing, as, without much evidence, Laurey dreamed of him as an extremely violent overbearing murderous rapist, with Zizi Strallen's wide-eyed quivering abject horror at his touch traumatising even to watch. Taken out of context, you'd easily mistake this for a racist fever dream, and strongly suspect that Atticus Finch's services would imminently be required to defend Fry from impending false accusations. But in context, the dream, so thrillingly danced by Strallen and company, was disturbing and exhilarating in equal measure, and made the ballet in the recent re-envisioning of Oklahoma feel like a damp squib in hindsight.
As stated in my earlier post, Tosh Wanogho-Maud was the most notable and exceptional singing voice of the night, and his affectless monotone juggernaut of a Jud Fry was very different from his super-emotional turn as David Ruffin in "Ain't Too Proud," showing he's as versatile in his acting as he is constant in his powerful singing.
All in all, this was unbelievably good (fully staged and raucously entertaining for me) for a three shows and done concert presentation, and I'd happily book any Fourth Wall concert in the future, especially if they are staged at the gorgeous Drury Lane, which I have learned to trust as a venue that generally offers great sound. I'd say I enjoyed this to the tune of 4 and a half stars.  |
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Post by longinthetooth on Aug 22, 2024 13:50:00 GMT
If anyone wants a comparison, the original movie is being shown on Sky Arts on Saturday, 24th, at 3.00pm. Made in 1955. Blimey!
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Post by ladidah on Aug 22, 2024 14:00:22 GMT
I love the Hugh Jackman one, I'll have to set if it's streaming anywhere.
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Post by Steve on Aug 23, 2024 12:40:20 GMT
If anyone wants a comparison, the original movie is being shown on Sky Arts on Saturday, 24th, at 3.00pm. Made in 1955. Blimey! Not only made in 1955, but made twice in 1955! The Cinemascope version we always see on TV wasn't even the priority for the director, as he filmed nearly all the scenes in a new 70mm format, Todd-AO, first. The two cameras were side by side, and only for a few throwaway shots did they roll the cameras at the same time. For the first year of release, only the Todd-AO version was shown in cinemas, and then the Cinemascope version was rolled out to cinemas that couldn't accommodate Todd-AO. Because the Todd-AO screens were curved, wrapping around the audience, it made sense to use the flat Cinemascope version for TV. And the Todd-AO version, with all the first and most fresh takes from the actors, was forgotten for years. It's now included on the Blu-ray and DVDs apparently, but I don't think it's ever been on TV. I'd love to see it, and wish they'd put it on TV. If not I'll buy it eventually lol. |
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Post by sph on Aug 23, 2024 13:12:05 GMT
If anyone wants a comparison, the original movie is being shown on Sky Arts on Saturday, 24th, at 3.00pm. Made in 1955. Blimey! And its star, Shirley Jones, is still with us at age 90! |
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Post by BurlyBeaR on Aug 23, 2024 13:41:27 GMT
Phil Dunster is the guest on the Off Menu episode dated 14th August if anyone wants to hear him out of character.
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Post by argon on Aug 23, 2024 17:04:46 GMT
Clearly I saw him differently to most people! I know the story doesn't work out that way, but I really felt it should end with the uplifting, thrilling 'Oklahoma!' Likewise, I've always thought the fight should be before oklahoma and that where it should end. |
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Post by capybara on Aug 23, 2024 17:24:20 GMT
Now that’s how you do Oklahoma. My first experience of the Rodgers and Hammerstein classic had been the recently reimagined version, which was admirable in its ambition but lacklustre in its execution. This concert production, however, gave me everything I wanted from such a luscious score.
Firstly, I will pay any sum to see Zizi Strallen perform in any role. I thought she made a brilliant Laurey. She was feisty, funny and is just insanely good at everything she does. One of my least favourite moments in ‘sexy’ Oklahoma was the Dream Ballet. Zizi made it a highlight here.
The only criticism I’d level at her may be that her vocals slightly overpowered Phil Dunster (Curly) in their duets. I was reminded of Stephanie J Block and Adrian Dunbar singing together in Kiss Me, Kate actually. Dunster acted wonderfully and sang well for the most part.
Jo Riding was captivating as Aunt Eller, even expertly dealing with her slip on stage. It actually ended up being a hilariously memorable moment. Christina Bianco was great fun as a very squeaky Ado Annie, working well alongside Jordan Shaw (Will) and Irvine Iqbal (Ali).
Meanwhile, a special mention ought to go to Tosh Wanogho-Maud as Jud. He found the right balance between humour and tragedy, stealing every scene he was in.
I really enjoyed the choreography and the orchestra did a tremendous job. That’s how that score ought to be heard, I would imagine. If it had been a longer run, I’d have retuned without question.
Five stars.
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Post by CG on the loose on Aug 23, 2024 23:22:04 GMT
Oh goodness, glad she was okay! We had a fly on the first night that would not leave the stage, and was visibly flitting about. I guess it added to the rural charm. I saw the fly on the stage but I also saw a mouse run up the aisle past me in the stalls. A few people saw it but fortunately there were no screams. I don't think it was part of the show. The mice are rampant at Drury Lane, one ran over my foot when I was there to see Oliver years back, and I've seen them from a slightly greater distance on at least three other visits! Rather gutted to have missed this concert thanks to this year's bout of COVID. |
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