5,159 posts
|
Post by TallPaul on Apr 5, 2018 18:24:05 GMT
I appreciate I am going to be in a minority of one, but for me it would be John Godber's Bouncers, obviously.
It began life in Edinburgh as a two-hander. There was a grand total of two in the audience at the beginning of the performance, but only one by the end!
|
|
4,029 posts
|
Post by Dawnstar on Apr 5, 2018 18:25:23 GMT
Der Rosenkavalier, Dresden 1911
More generally, any baroque opera with castrato roles, to hear what those voices really sounded like.
|
|
1,089 posts
|
Post by tonyloco on Apr 5, 2018 19:11:49 GMT
There seems to be little interest in the first performances of the works of Stephen Sondheim in this thread so far – just one passing reference to 'Follies' as far as I can see.
I wonder why?
|
|
1,064 posts
|
Post by bellboard27 on Apr 5, 2018 19:23:12 GMT
Look I might as well stay “on brand” and say Rent (as heartbreaking as it is that first performance after Larson died) and Angels in America (could I teleport between the London and NY openings) I wish I had put money on this. But I suppose I wouldn’t have got very good odds. |
|
|
|
Post by Deleted on Apr 5, 2018 19:28:32 GMT
Look I might as well stay “on brand” and say Rent (as heartbreaking as it is that first performance after Larson died) and Angels in America (could I teleport between the London and NY openings) I wish I had put money on this. But I suppose I wouldn’t have got very good odds. I mean if you can't have a personal brand and embrace it...if I'd chosen something trendy I could monetise it. I could be the Carrie Hope Fletcher of the erm academic theatre world? But such is my lot... |
|
2,041 posts
|
Post by 49thand8th on Apr 5, 2018 21:22:53 GMT
God of Carnage, now that I've seen Indecent.
|
|
|
|
Post by Deleted on Apr 5, 2018 21:47:31 GMT
There seems to be little interest in the first performances of the works of Stephen Sondheim in this thread so far – just one passing reference to 'Follies' as far as I can see. I wonder why? I mentioned Anyone Can Whistle as well, although Merrily would also be interesting. We are blessed with having more recordings of his shows’ original productions than, I think, any other major composer. Pacific Overtures, Sweeney Todd, Sunday in the Park With George, Into the Woods, Passion and, of course, bootlegs of all other ones in between and after. We even have decent footage available of the original Follies. |
|
|
|
Post by Deleted on Apr 6, 2018 0:30:03 GMT
Definitely Shakespeare's Hamlet! It was a well-known tale but apparently earlier versions had a happy ending - just imagine the shock of the original audience at the end. I'm sure many wouldn't have liked it! So many of Shakespeare's tragedies and comedies could go either way - compare Much Ado About Nothing and Romeo and Juliet - that I often think it must have been amazing to go and see a brand-new Shakespeare play not knowing which you were going to get. Hamilton at the Public - apparently people already kind of knew at that point that it was going to be amazing because there had been a prior concert version at the Lincoln Centre that created a lot of buzz for it, so maybe it's the Lincoln Centre gig I would really have loved to be at. The National's Guys and Doll's - isn't that the legendary one where the audience demanded 3 encores of Sit Down You're Rockin' the Boat? Of course with some shows the first performance wasn't that great as they needed previews to work the kinks out, so you wouldn't want to have seen the first preview of something like War Horse. I don’t know about the first night at the NT Guys and Dolls but when I saw it with Ian Charleson ( dreadful loss) they had to do it more than three times! It was sensational. Oh I saw that production too! I thought the encores were part of the show and was so disappointed when I saw it a few years ago and there were no encores. |
|
5,062 posts
|
Post by Phantom of London on Apr 6, 2018 0:56:31 GMT
The press night at the St James Theatre on the 31st March 1943 and watch history being made, with a gigantic change in how musical theatre is executed with the very first performance of Oklahoma.
Just as long as I could get on ‘theatreboard’ to pan it.
|
|
|
|
Post by Deleted on Apr 6, 2018 1:50:38 GMT
Cats at the New London for me.
Also when Jennifer Holliday opened in Dreamgirls and no one knew about her iconic performance.
|
|
|
|
Post by oxfordsimon on Apr 6, 2018 7:56:53 GMT
The first ever performance of The Pirates of Penzance down in Paignton - it was a version of the show that no longer exists (though attempts at recreating it have been made) and it would fascinating to see how it was originally conceived.
I think the opening night of Show Boat would have been something quite incredible. A truly ground-breaking show - and to have been part of that first audience would have been electric.
|
|
1,089 posts
|
Post by tonyloco on Apr 6, 2018 9:19:08 GMT
There seems to be little interest in the first performances of the works of Stephen Sondheim in this thread so far – just one passing reference to 'Follies' as far as I can see. I wonder why? I mentioned Anyone Can Whistle as well, although Merrily would also be interesting. We are blessed with having more recordings of his shows’ original productions than, I think, any other major composer. Pacific Overtures, Sweeney Todd, Sunday in the Park With George, Into the Woods, Passion and, of course, bootlegs of all other ones in between and after. We even have decent footage available of the original Follies. Good point, Cardinal Pirelli. That hadn't occurred to me, so thanks. Not quite the same as actually being in the theatre oneself but still very valuable and informative. |
|
1,089 posts
|
Post by tonyloco on Apr 6, 2018 9:58:22 GMT
I would like to have been at the first performance of the Rite of Spring in 1913 and, of course, the trouble that ensued. Yes, other people, including Mr Snow, have also mentioned the riot that was caused by the first performance of Stravinsky's Rite of Spring in 1913. Well, on 31st May 1964 I attended a performance of Bellini's 'Norma' at the Paris Opéra starring Maria Callas, and experienced what amounted to a minor riot in the theatre that night. In the opening scene, after Callas had sung her opening recitative and aria ('Casta Diva') to moderate applause, there is a further recitative ('Fine al rito') before the cabaletta ('Ah! bello a me ritorna). For some inexplicable reason during this recitative, Callas let out what can only be described as an ugly squawk on the top B flat before she went on to sing the cabaletta without any further trouble. But the audience had not forgotten that cracked note and as Callas made a majestic exit to the rather stately slow march that followed, members of the audience began literally fighting with each other, some decrying Callas for the broken note, others defending her and people started yelling things like 'English pigs!' and 'German swine' at each other, some altercations actually taking place between people in the stalls with others in the higher regions of the house. The atmosphere was quite frightening and the brawling continued on into the first interval when it arrived. I read afterwards somewhere that the French police were called to quell the fighting in the foyers during first interval although I never actually saw any police. But I did meet somebody some years later who was also there and said that he was genuinely concerned for the safety of his pregnant wife when the fighting broke out in the stalls. Fortunately there were no further problems in the rest of the opera and Callas received a triumphant reception after her magnificent performance of the final scene. I can genuinely confirm that the disturbance earlier in the night was no fun and I hope never to be at a performance of anything where such a situation happens again. |
|
1,064 posts
|
Post by bellboard27 on Apr 6, 2018 10:03:44 GMT
I would like to have been at the first performance of the Rite of Spring in 1913 and, of course, the trouble that ensued. Yes, other people, including Mr Snow, have also mentioned the riot that was caused by the first performance of Stravinsky's Rite of Spring in 1913. Well, on 31st May 1964 I attended a performance of Bellini's 'Norma' at the Paris Opéra starring Maria Callas, and experienced what amounted to a minor riot in the theatre that night. In the opening scene, after Callas had sung her opening recitative and aria ('Casta Diva') to moderate applause, there is a further recitative ('Fine al rito') before the cabaletta ('Ah! bello a me ritorna). For some inexplicable reason during this recitative, Callas let out what can only be described as an ugly squawk on the top B flat before she went on to sing the cabaletta without any further trouble. But the audience had not forgotten that cracked note and as Callas made a majestic exit to the rather stately slow march that followed, members of the audience began literally fighting with each other, some decrying Callas for the broken note, others defending her and people started yelling things like 'English pigs!' and 'German swine' at each other, some altercations actually taking place between people in the stalls with others in the higher regions of the house. The atmosphere was quite frightening and the brawling continued on into the first interval when it arrived. I read afterwards somewhere that the French police were called to quell the fighting in the foyers during first interval although I never actually saw any police. But I did meet somebody some years later who was also there and said that he was genuinely concerned for the safety of his pregnant wife when the fighting broke out in the stalls. Fortunately there were no further problems in the rest of the opera and Callas received a triumphant reception after her magnificent performance of the final scene. I can genuinely confirm that the disturbance earlier in the night was no fun and I hope never to be at a performance of anything where such a situation happens again. That is insane! It just goes to show the responsibilities that singers have. One wrong note and a World War could break out! |
|
1,089 posts
|
Post by tonyloco on Apr 6, 2018 10:19:01 GMT
That is insane! It just goes to show the responsibilities that singers have. One wrong note and a World War could break out! You are absolutely right, bellboard 27. On another occasion at the Royal Opera house, Covent Garden, an audible gasp of disapproval ran through the stalls when the Russian soprano Galina Vishnevskaya playing Aida in the Nile Scene, thrust her leg – right up to the thigh – through the slit in the side of the tight black dress she had brought with her while tempting Radamés to betray his country and run away with her. It didn't quite start a World War, but Vishnevskaya, one of the greatest operatic sopranos in the world at the time, was never again asked to appear at the Royal Opera House! Sorry – as usual – for getting a long way from the subject of this thread but where else can I trot out my old theatrical anecdotes to an audience of people who will understand and hopefully enjoy them? |
|
2,302 posts
|
Post by Tibidabo on Apr 6, 2018 10:23:44 GMT
Sorry – as usual – for getting a long way from the subject of this thread but where else can I trot out my old theatrical anecdotes to an audience of people who will understand and hopefully enjoy them? Do not, I repeat, DO NOT apologise Tony. Your anecdotes are fab-u-lous dahling! And you are not deviating from the thread subject at all - we're all wishing we had been at various shows and you actually were at some of them and are generous and erudite enough to share them with us. Please don't stop. 🤩🤩🤩 |
|
|
|
Post by profquatermass on Apr 6, 2018 10:52:40 GMT
There seems to be little interest in the first performances of the works of Stephen Sondheim in this thread so far – just one passing reference to 'Follies' as far as I can see. I wonder why? I mentioned Anyone Can Whistle as well, although Merrily would also be interesting. We are blessed with having more recordings of his shows’ original productions than, I think, any other major composer. Pacific Overtures, Sweeney Todd, Sunday in the Park With George, Into the Woods, Passion and, of course, bootlegs of all other ones in between and after. We even have decent footage available of the original Follies. I saw the first British production of Merrily about which i knew absolutely nothing in advance. It had the t-shirts which I don't think any other production has used and used the script you don't get any more with Hills of Tomorrow and an older Frank at the start I think the only other actual first night I've seen might have been the legendarily awful Mirren/Rickman Anthony and Cleopatra where Sean Matthias came out before the show to apologise for the set not being finished. Sadly he omitted to mention the leading man not having time to learn his lines |
|
|
|
Post by Deleted on Apr 6, 2018 13:21:50 GMT
Pregnant ladies are lethal when they get going... Well, yeah. Eventually they emit a baby, and those things are terrifying. |
|
4,993 posts
Member is Online
|
Post by Someone in a tree on Apr 6, 2018 15:11:54 GMT
As a Sondheim fan it would be all of them but perhaps Whistle and Follies the most. However if I had the gift of time travel then Elizabethan theatre and Weimar Cabaret would be amazing for atmosphere soaking
|
|
|
|
Post by Mr Snow on Apr 8, 2018 8:18:34 GMT
I would like to have been at the first performance of the Rite of Spring in 1913 and, of course, the trouble that ensued. Yes, other people, including Mr Snow, have also mentioned the riot that was caused by the first performance of Stravinsky's Rite of Spring in 1913. Well, on 31st May 1964 I attended a performance of Bellini's 'Norma' at the Paris Opéra starring Maria Callas, and experienced what amounted to a minor riot in the theatre that night. In the opening scene, after Callas had sung her opening recitative and aria ('Casta Diva') to moderate applause, there is a further recitative ('Fine al rito') before the cabaletta ('Ah! bello a me ritorna). For some inexplicable reason during this recitative, Callas let out what can only be described as an ugly squawk on the top B flat before she went on to sing the cabaletta without any further trouble. But the audience had not forgotten that cracked note and as Callas made a majestic exit to the rather stately slow march that followed, members of the audience began literally fighting with each other, some decrying Callas for the broken note, others defending her and people started yelling things like 'English pigs!' and 'German swine' at each other, some altercations actually taking place between people in the stalls with others in the higher regions of the house. The atmosphere was quite frightening and the brawling continued on into the first interval when it arrived. I read afterwards somewhere that the French police were called to quell the fighting in the foyers during first interval although I never actually saw any police. But I did meet somebody some years later who was also there and said that he was genuinely concerned for the safety of his pregnant wife when the fighting broke out in the stalls. Fortunately there were no further problems in the rest of the opera and Callas received a triumphant reception after her magnificent performance of the final scene. I can genuinely confirm that the disturbance earlier in the night was no fun and I hope never to be at a performance of anything where such a situation happens again. Fascinating and you’ve reminded me of something I knew about and overlooked. A decade ago we were at an outdoor performance of Cavallieria Rusticana in Sicily, when the Tenor's voice literally dried up in the warm night air. The conductor stopped the band and shouted at him and the crowd vigorously booed him while a jug of water was brought on stage. He limped to the end and when he came on for his call the aggression was unbelievable. He then gave the crowd 'the finger' before stomping off. If he'd stayed he might have been lynched. I think in reading the history we like to focus on the controversy without considering fully the ugliness that can lie behind it. Having seen this crowd behaviour first hand, once was more than enough and I’ll change my choices. Out goes Rite of Spring and in comes Godot. |
|
|
|
Post by Deleted on Apr 8, 2018 10:56:54 GMT
Matilda in Stratford-Upon-Avon
or One Man Two Guvnors at the NT (or the subsequent tour with James Corden etc.)
|
|
5,707 posts
|
Post by lynette on Apr 8, 2018 11:07:57 GMT
Gosh, the Sicilians love their opera 😳 Thinking of the location, I bet there is plenty of 'back story' there.
|
|
|
|
Post by Deleted on Apr 8, 2018 11:39:57 GMT
The Rite riot was cultural, bohemians against conservatives, not animosity towards individuals onstage. Sometimes an artform needs a kick up the backside to move it on, Godot will have been the same.
|
|
