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Post by David J on Feb 8, 2021 12:36:54 GMT
Beauty and the Beast was the one that started my love for musicals so I have an attachment to that. For a film to stage adaptation, it had some wonderful new songs (especially If I Can't Love Her) and the production values were beautiful to look at. Sure the animated film was better but it wasn't short of creative.
I went to New York specifically to see it after the UK tour. I also saw Aida there which I really enjoyed.
Lion King: phenomenal start but the rest is boring. Certainly, a case where the animated film can't be matched.
Mary Poppins on the other hand is not a word for word retelling of the film and all the better for it. When you take out the songs it feels less of a Disney musical. Saw the original when it previewed in Bristol and it was one of the most amazing theatrical experiences I've ever seen full of special effects and production values. And that Temper Temper is one of the few times that truly scared me.
Aladdin was just subpar. Nothing amazing.
Not bothered about the Frozen musical.
Anybody see the Goodman Theatre's Jungle Book adaptation?
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Post by David J on Feb 8, 2021 7:31:22 GMT
The stage musicals, the films or in general?
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Post by David J on Jan 30, 2021 11:16:10 GMT
I find Romeo and Juliet starts off as a romance/comedy with some sword fighting here and there. Then probably the most interesting characters die off by the interval and the second act is a slow slog of a tragedy watching the planets line up for the lovers to die.
Only production I've liked was the Rupert Gould one
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Post by David J on Jan 24, 2021 22:30:10 GMT
I got out the transformation book and the idea of changing the RST was circling when Adrian Noble was leaving.
The idea was to have a versatile space that can change between proscenium and thrust stage.
But Michael Boyd was dead set on a thrust stage only theatre and seeing the shows under his tenure from 2006, mainly in the courtyard theatre, I can see why.
A thrust stage suited directors like him, David Farr, and Rupert Gould at the time. Watching the Histories the courtyard theatre was like a toy box of ways to stage Shakespeare for them. When they didn’t have to rely on presenting Shakespeare literally. Their shows were stylistic, symbolic and at times physical, using the whole space for actors to perform from all levels and even in the air. Even Gregory Doran, though not the most radical of Shakespeare directors was more imaginative before 2013
And the RST could have been the ultimate space for directors like them to thrive. But Gregory Doran had to take the lazy and literal approach and stage shows like they might as well be on the proscenium stage
And counting in the fact that the RSC was dead set on returning to the Barbican that the stagings have to cater for that space as well.
What annoyed me the most about the Roman season was that Blanch McIntyre’s modern setting Titus Andronicus looked so awkward on that literal classical Roman set.
I sometimes wander whether the rsc also caters to its live broadcasts, thinking that any -non-literal staging would not come across on the screen
And nearly two decades later and the bridge theatre is that versatile theatre the RST could have been and more. That theatre reminds me of the possibilities that courtyard theatre had for directors that go beyond the literal
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Post by David J on Jan 10, 2021 23:05:08 GMT
I just remembered there was an audio dramatisation of Matilda that Penguin publishing produced alongside dahl’s other books
It isn’t credited who exactly played Trunchball but Rula Lenska is listed and she sounds similar. To me if you want the voice of Miss Trunchball then she nails it. So big, authoritative and threatening
On the other hand I loved Bertie Carvels cold depiction at Stratford. But I hated how he changed it and became more shrill for laughs when the show got to London and Broadway
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Post by David J on Jan 10, 2021 22:29:12 GMT
The bigger question though is why does Trunchbull require a male actor - what does it bring to the role?. Mrs Doubtfire, for example, worked because it was a male character going to huge lengths to see his kids daily, something he was legally forbidden to do. The audience were in on it and actively rooting for Daniel, knowing it was all going to go wrong at some point. The humour doesn’t come out of Robin Williams dressed as a woman, but from his character Daniel interacting with those around him whilst dressed as a respectable older woman. The movie goes to great lengths actually to ensure Mrs Doubtfire isn’t a character you’re laughing at, but laughing with. It’s very clever in its execution and is not offensive in the slightest. John Travolta on the other hand brings absolutely nothing to his role in Hairspray. He plays it completely straight and is very adequate, but adds nothing other than his name to poster. I accept on stage it’s always had male casting, but that’s not a justification for casting decisions in a different medium. Matilda would have ended up going the same way and there’s no real reason from what I remember of the musical. The thing with Miss Trunchball is that like Roald Dahl's villains she is a bigger than life character. He shows adults from a child's perspective on a big and grotesque scale Now she is neither a witch or a giant but a woman who was an athlete in her day. But Roald Dahl and Quentin Blake depicted her as this towering monster that frightened both children and adults The musical clearly stayed close to the illustrations in the book. So obviously they needed to cast men to pull off her ugliness, stature and inhumane character. Even better when she doesn't sound effeminate. Mature as well since trunchball looks to be in her late 50s-60s. Not to be down on the young men who understudy the role but they never sound convincing. Beth Malone played the character in 2019 and she was not convincing at all. It's possible that a woman can play the role. It's already been done with Pam Herris in the 1996 film and she depicted the character very well. But she did have the help of the low camera shots to make her look bigger than she is. I'm sure there are actresses that would fit the look of the character. But how many are they? And that actress will have to be well known since this is hollywood we're talking about? The only one I know who could come close to pull it off is Gwendoline Christie
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Post by David J on Jan 10, 2021 15:25:32 GMT
The only RSC production that appears in my top 10 Shakespeare productions since Doran took over is Simon Godwin's Hamlet. Along with his Twelfth Night
Take a hint Gregory! A shame Simon has gone to be Artistic Director for the Shakespeare Theatre Company in Washington.
I'd have to go further down the list to find Christopher Luscombe's Love's Labour's Lost/Much Ado About Nothing and Iqbal Khan's Othello. Two other directors who were able to bring something good to the main theatre. Melly Still's Cymbeline wasn't great but still stands out to me compared to the rest.
The best Doran has done were Richard II, The Tempest (despite the dated special effects) and Troilus and Cressida. And of all the Shakespeare plays it was Troilus and Cressida in which he put some real effort and imagination into after so many years.
And I still say that pre-2013 Doran is one of my favourite Shakespeare directors. His Julius Caesar, Hamlet, Love's Labour's Lost, and Midsummer Night's Dream is some of the best Shakespeare I've seen.
Then at the bottom you have Antony and Cleopatra and Coriolanus in that disappointing Roman Season. That was when I gave up on Gregory Doran. Even if he wasn't officially in charge of the season it was clear he was calling the shots asking for some of the most bland and literal productions I've seen at the RSC. You had some very imaginative directors in that season. Heck I knew Iqbal Khan was the perfect director for Antony and Cleopatra and yet that is the worst I've seen under Doran's tenure
And I may be complaining as someone who misses the Michael Boyd years (from 2006). But I don't need Michael Boyd back, I need someone who has a vision for the RSC who can attract directors with great ideas.
And you could only find those in the Swan Theatre. I loved Wolf Hall, The Jew of Malta, The Rover, Don Quixote, and Snow in Midsummer and still remember the Arden of Faversham, The Witch of Edmonton, Dido Queen of Carthage, The Provoked Wife, Tamburlaine, Timon of Athens, Vice Versa, The Alchemist, and Volpone. Even the bad ones showed vision that weren't executed well.
The fact that during the lockdown the RSC did nothing but the odd event and some online interviews with Doran and the company's best actors of old shows a lack of imagination on Doran's part.
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Post by David J on Dec 30, 2020 13:52:46 GMT
I've shared this before but this video perfectly explains why Hollywood can't create musical films anymore.
Look at Sweeney Todd, Hairspray and Into the Woods. None of them were created as Oscar bait. Maybe get the odd nomination or award for Johnny Depp and Meryl Streep and the design department but otherwise the films didn't try and fit with the Academy Awards judging panel's standards. All were unapologetically stylistic and non-literal.
La La Land is an exception because it was an Oscar bait film that called back to the old musical films. Hollywood loves call-back films to the old days like The Artist. Maybe Sunset Boulevard will be allowed to be stylistic for that reason.
Chicago, Hairspray and Sweeney Todd are my favourite modern musical films. Only the Chicago film is better than the tired production we've had for decades. Otherwise I'd stick to the filmed stage versions like Miss Saigon, the Les Mis concerts, Cats, Barnum and Hamilton
Sound of Music on stage feels like a drawing room play compared to the film with its outdoor filming, . Maria going back to the monastery feels a bit inconsequential on stage whilst you sense that time has passed and the children miss her so much in the film. Also you get to see Nazi occupied Austria
West Side Story, Oklahoma, The King and I, My Fair Lady Oliver, Chitty Chitty Bang Bang and Fiddler on the Roof all have the advantage of being unconstrained from the stage. Still I find both film and staged versions offer a lot in their own ways
I find the Lion King stage musical boring as an adult. Trying to recreate the film's scenes with actors wearing masks do not compare to animated lions.
Hate the Mamma Mia film. Took me years to try the stage version and found it to be fine. None of the characters acted hyperactive and screaming all the time as they did in the film.
Willy Wonka and the Chocolate Factory miles better than the stage adaptation
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Post by David J on Dec 23, 2020 13:02:22 GMT
The Watermill Theatre has filmed their two actor Christmas Carol which can be watched online until 3rd January www.watermill.org.uk/?dm_i=2BPB,1OUYQ,74UCP,5RF5W,1
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Post by David J on Dec 18, 2020 18:56:28 GMT
1. Jesus Christ Superstar 2. Les Miserables (Sondheim) 3. Oleanna 4. A Number 5. Uncle Vanya
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Post by David J on Dec 17, 2020 9:38:53 GMT
I liked this production I went on the fact that Jonathan Slinger was in it and he didn't disappoint. I've been gaining a new perspective on acting and saw that he gives his all to Rosie Sheehy. He doesn't simply act the lines in a set way he devised, he feels natural. Even down to the moments he talks on the phone to someone he has to imagine. Which is why I enjoy nearly every performance I've seen him do since Richard III. And oh boy does he give the Richard III I remember at the end Its no surprise the box office was warning someone that if they take a seat in the front row there's a strong possibly something will be thrown in their direction. Both performances were good. There were times where the two actors rushed the interjections they gave each other. Rosie Sheehy held back at times but still good. The play I feel is of its time and tame. The discourse on Me Too and accusations has moved on since this play came out. I've heard the characters' arguments before but in the end David Mamet has no argument of his own. Instead he resorts to a superficial ending. At the very least you get to see that neither character comes out the better for it. You feel bad for the professor's situation but at the same time agree that he is a bit full of himself whilst letting the girl walk all over him and when he does try and stand up for himself he does it in the worst possible way. I couldn't watch at the end of the second scene. The student meanwhile makes some points but otherwise twists the things he said to suit her narrative. And whilst she accuses him of aggrandizing and acting like he has power over her she does exactly the same thing (though she acknowledges it). And she never stops to see the full consequences of her actions until it is too late. Okay play held up by wonderful performances
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Post by David J on Dec 15, 2020 17:57:23 GMT
Di Viv and Rose is another great example of time leaps done wrong. The first act had some great writing only jumping 3 months or so.
Second act suddenly jumps 5-10 years which is confusing if you don’t pay attention. And then one of the characters die off out of nowhere with no lead up. Complete let down that was
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Post by David J on Dec 15, 2020 17:52:50 GMT
Much as watching the chandelier rise up is hugely thrilling, it doesn't half give the plot away, but i guess when you have invested so much into a prop you best make the most of it and not worry too much about the mechanics of the plot. Same with the blessed helicopter on Miss saigon. In the time line we are suddenly in a flashback, which confuses some of the audience who are not listening to every word, We've not had flashbacks before, but traditionally there's usually a big moment after the start of act two The flashback confused me the first time I saw Saigon as a 16 year old!! And so every time I've seen it since, I've taken the liberty of warning the people I'm seeing it with, during the interval!
That’s why I find leaps in time jarring if not done well. Have a finality to the previous time period so it then feels natural Les mis is an example where the three time periods feel like three act stories in themselves When I first saw miss saigon I was completely confused by the time leap in the first act. We’d just got to the high point of what was to me a great love story, boom went the fireworks and I was playing catch-up working out when, where, what and why. And I know the point is to leave you in suspense, and the pay off is brilliant with the helicopter. Wondering what happened to the pair. Did he betray her? (even though it’s not hard to guess they got separated by unfortunate events))
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Post by David J on Dec 6, 2020 12:10:35 GMT
Liked this. A pleasing night out. Pleased to see SRB get to say “Humbug” and Patsy Ferran again. But nothing worth coming miles into london to see that you’d likely have seen at your local theatre
Nothing extraordinary. Just a word for word retellinb of the story whilst the three switch roles.
Found the modern references a bit jarring by the end. Especially you see the three play Victorian parlour games and suddenly dance to modern music
Regarding the measures one thing I would suggest is they stop taking drink orders 5 minutes before the show starts. It started a little late as ushers went i and out with orders.
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Post by David J on Dec 4, 2020 10:24:09 GMT
“ Those who invested in Phantom back in 1986 have also been given closing notices.” CM strikes again! Meaning the original's run has come to an end after 33 years and they will be starting all over again with this new version? Frankly I think the "long running" title is no longer valid after being closed for more than a year. Same for Les Mis (concert doesn't count for me)
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Post by David J on Nov 29, 2020 22:06:28 GMT
Oh I definitely not saying Angels in America is tedious, I’m saying that a 8hr play felt like 2hr play. Angels in America, War Horse and Curious Dog and Jerusalem are the finest plays I have ever seen. Mentioning Angels in America with this thread title, I can see why you thought I was down on Angels. That Medea in the Greek season at the Medea, felt like 8hr, wasn’t a patch on the National version, where Helen McCrory was absolutely superb. Sorry didn't think you were down on Angels at all. Glad the time flew by when you saw it, whereas I didn't. Enjoy the writing or anything and appreciated it discussed way more than homosexuality and AIDs. Just didn't connect with me on an emotional level enough to warrant that amount of time. As I remember leaving the second part I thought these are very personal plays that on touch life experiences that I've have or yet to face to fully appreciate. Especially at 8 hours. Now on the Medea side it was an hour and 30 minute production that felt like an eternal slog listening to what sounded like someone's ramblings on their blog copied into the script. And has writer Rachel Cusk written another play since then? And after all that, when I was yearning for the famous ending, they have this 'thing' come one (I believe it was meant to be a God) and give a monologue in which she passingly says "oh and the kids killed themselves" Funnily enough Wooster Groups Troilus and Cressida was more than 3 hours so I must have been mad staying after the interval. Partly because it was the first time I was watching the play. But at the same it was the first time I was watching an absolutely pretentiously bad production and it was fascinating to watch. Like watching a car crash in slow motion. I left Medea absolutely livid. Funny what you get out of a long production sometimes
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Post by David J on Nov 29, 2020 18:12:50 GMT
Three Sisters, Ivanov, Platonov and Uncle Vanya are my favorite Chekhov plays but otherwise I've yet to see The Seagull that engaged me and I haven't seen The Cherry Orchard since the NT production 9 years ago.
I won't say Angels in America was tedious. The NT production was very good. I could just tell I need to experience more in life to really engage with the plays
Never a fan of George Bernard Shaw. Candida and that controversial act from Man + Superman are the best pieces of his I've seen so far and I like some of his writing. But his plays always feel dry and unengaging. Heartbreak House at Chichester is one of the most tedious pieces of theatre I've seen with of the most unlikeable characters
Oh and I hate Hay Fever. I get the whole point is to make fun of this bohemian family but that is practically all Noel Coward has to offer and I hated them.
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Post by David J on Nov 29, 2020 17:32:13 GMT
... there's an ongoing Rupert Goold theme here Rupert Goold used to be such a great Shakespeare director. In addition to the ones you mention there were the Arctic "Tempest", the Las Vegas "Merchant of Venice", Pete Postelthwaite's "King Lear", Ben Whishaw "Richard II" on TV, and years ago an "Othello" where Othello was a USA airman on a base in England during WW-II. All quite brilliant in their way. But all we've had from him in the last decade has been a distinctly average and unimaginative "Richard III" with Ralph Fiennes. It's a pity. I saw his R+J, Merchant and Richard II. Some of the best and most creative Shakespeare I've seen. Such a shame his productions in the Almeida haven't been as inspiring. His Medea is the worst theatre experience I've ever seen. Talk about dreary. Yes, I'd rather see Wooster Group's Troilus and Cressida over that. That said he is in charge of Headlong and Almeida that attracts some very talented directors.
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Post by David J on Nov 29, 2020 1:44:00 GMT
Macbeth is one of those plays where I feel the first half is the most interesting. Right up to Macbeth's second meeting with the witches. After that the play slows down for me as we lead up to his death. That said the Malcolm and Macduff scene is one of the best in the play.
Agree on the Rupert Goold Macbeth. Best Macbeth for me is the Yukio Ninagawa production. Beautiful to watch and the only one I felt sorry for Macbeth. Then again it could have been the endless playing of Adagio for Strings affecting me.
Romeo and Juliet is worse for me. I think its telling that I haven't seen a production since the Rupert Goold production which really spiced up the play for me (there's an ongoing Rupert Goold theme here). The play is a good romantic/comedy play that turns into a tragedy by the end of the first half. After that the play drags as we watch the stars align for the lovers to die by bad luck.
Julius Caesar has a similar problem with the second half but its made up by some compelling characters. I think we can all agree Antony and Cleopatra really suffers by the end. Even an average production will feel tedious.
Henry V does nothing for me. Whether or not you make it a jingoistic of an anti-war play. Except for the time when I saw Antic Disposition's WW1 production, when I realized it is better as a soldier's play rather than a play about Henry V. Watching the soldiers of the trenches finding themselves in the soldiers the play draws the limelight to away from the titular character
Just as I find King Lear is rather England's tragedy rather than his. He's a difficult character to sympathize with as it is and yet I've seen more than a dozen productions. So many characters die, many of whom are england's leaders, so the surviving ones in the closing moments are left lost and rudderless as england is left adrift.
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Post by David J on Nov 25, 2020 8:14:01 GMT
Or perhaps as part of Cameron's redevelopment of each of them he was able to incorporate these changes - just in case. Who knows? are you suggesting he knew he needed to space out his cast in the near future! Time to put on our conspiracy hats on! 🕵️♀️
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Post by David J on Nov 11, 2020 23:43:14 GMT
Most of those are worth watching.
I'd watch the Globe Theatre's Henry IV. Way better than the RSC one especially with Roger Allam giving the best Falstaff in the last decade.
There's so many great Globe Theatre productions to watch on the Globe Theatre. As You Like It, Much Ado with Charles Edwards and Eve Best, The Comedy of Errors, The Taming of the Shrew with Samantha Spiro, Antony and Cleopatra with Eve Best, Titus Andronicus (maybe not with a mince pie!)
I'd highly recommend the RSC's African Julius Caesar that is on DVD.
Otherwise there's their latest Hamlet, Othello. Their Love's Labour's Lost and Much Ado is a lovely Christmas duo. All available on Digital Theatre
Otherwise there's the Ian McKellen and Judi Dench Macbeth. The Donmar Shakespeare Trilogy
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Post by David J on Oct 26, 2020 14:30:51 GMT
75 minutes and no interval! Better than nothing though? I'd rather not see Joe Pasquale in a panto again, but yeah. At least I'll be supporting my local theatre
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Post by David J on Oct 19, 2020 14:56:15 GMT
Todaytix presale live for this Has it gone down because I'm not seeing one on todaytix?
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Post by David J on Sept 12, 2020 17:31:11 GMT
Should no-one ever produce work that someone might respond to in a way the artist never intended? Isn’t that a dangerous bar to set? This, so much this. On this subject that's exactly whats happening with anime artists at the moment. Artists have raised their concerns with the Japanese government because there is a push in places like America or Australia for censorship because people on twitter and politicians, like Connie Banaros, think there is an apparent sexualisation of children in comics. Except the characters they refer to are in fact adults. It's just that the anime style makes characters look younger than they are (wide eyes etc) Sure there are anime drawings that exaggerate body proportions and some can be more explicit than others. But it is an art form that is not bound in realism and there are some talented anime artists that are now under threat of loosing money because their work can no longer be sold abroad because some people decry their comics without actually looking reading them. So in response to your reply to my comment I do agree with you but this “getting up in arms without understanding there is a grey area” is happening not just to anime but all over the place and I would like to know what these people who decry anime think about Cuties.
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Post by David J on Sept 12, 2020 14:49:29 GMT
I think there is a growing trend I’ve noticed where people are becoming more vocal about certain content in media.
Perhaps this ‘moral panic’ is coming from your average joe who are finally having enough of how children are being shown this way and are speaking up about. People who are not vocal as we are on this forum, especially when it’s now natural to call someone you don’t like every -ist word imaginable.
They rather vote with their wallet and there is a trending #cancelnetflix with people declaring they are cancelling their subscriptions. Meanwhile netflix’s stock was going down the last few days
Which is unfortunate for a film that’s trying to criticise child sexualisation
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