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Post by David J on Feb 6, 2019 16:39:57 GMT
Can anyone describe what has changed or been cut over the years? I'm always interested to hear about changes made to shows and the decision process behind them. So there have been a few trims since the Compete Symphonic recording but they are minimal. The main issues are more subtle: - reduced orchestra over the years (although sound wise things improved when the new orchestrations were brought in as it was orchestrated for the size of orchestra it now had) - MDs seem (though for me is just a perception) to be conducting the show faster and faster so everyone gets out quicker - younger and younger casts - talented no doubt but lacking the acting subtlety and nuance that experience brings The piece itself hasn't been cut since the 90s though I don't think. I do echo others views that something was lost when it moved from The Palace. Something difficult to put into words. As certain shows fit certain theatres (Cats in New London, Starlight in Apollo Victoria) The Palace felt totally right for Les Mis and it was a holistic fabulous experience there. Coincidentally I’ve been at the V&A archives this morning watching some of the recording of the Palace production. The set definitely looked expansive and epic and those structures that turned into the barricades seemed to tower over everybody. And my did the orchestrations boomed out, and it sounded more layered with the extra instruments If I had one defence of the smaller queens production it does feel intimate when sitting near the front I’m going to hold off and hope to get a cheap seat for a night with JOJ
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Post by David J on Feb 6, 2019 7:44:17 GMT
Same here. See you in the cheap seats I'm now wondering if you are the person who had bought the cheap seat beside the one I have just purchased! Maybe we should turn this into a social get together
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Post by David J on Feb 5, 2019 23:00:07 GMT
Wow! I was half wondering whether I'll ever get a ticket for the last performance of the original version at the Gielgud.
Now that ticket for the last Queens production is even more special.
Maybe there should be a get together for those who managed to get a ticket for that last night!
Mixed about the concert cast but I'll give it a go. Maybe not an expensive seat near the front like I always bought for the Queens version.
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Post by David J on Jan 28, 2019 13:57:06 GMT
I'll just wait to see King John in the cinema. Have no real interest in the rest.
Unless the reviews are very good for the swan productions, this might by the first winter season I won't be attending
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Post by David J on Jan 22, 2019 10:11:09 GMT
Anyone still waiting to get a link to the booking page. I signed up to the priority list but haven’t heard anything
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Post by David J on Jan 18, 2019 12:46:11 GMT
Saw an encore screening yesterday, and I too have to join the 'saw a different production' camp missthelma sums up Sophie Okonedo for me. Looks majestic but lacks grace and instead leans towards the comedy by shouting and EMPaaaasing EVery WOrd and extEEEding EEEvery vOOOwel. No where near as good as Eve Best. I preferred Ralph Fiennes in the first act. He convinced me as a soldier who is past his prime since falling for Cleopatra. His delivery of the lines however seemed to go full on drunken mode once he became melancholic and mopey in the second act. Tunji Kasim...first time I saw him perform was in David Farr's The Winter's Tale back in 2009, and his performance here is still the same. Why the RSC and NT continue to cast him, I've absolutely no idea I've got to say, whilst it was a pleasure seeing Tim McMullan again but he doesn't fit the role of Enobarbus for me. He certainly delivers the wit impeccably but his melodic voice doesn't suit the blunt and rough-spoken soldier. Some lovely sets, though we did they have to keep Cleopatra in the monument for the final scene. It looked cramped on that small set. A mixed production, made worse by the fact that the play is baggy and uneven. I felt the minutes pass by.
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Post by David J on Jan 11, 2019 16:57:48 GMT
Really? I should think the Henry VI plays require a larger space.
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Post by David J on Jan 9, 2019 22:22:42 GMT
So I am seeing this again tonight and I’m pleased to say they have addressed the sound balancing issues. The music isn’t over amplified and I can now hear the lyrics and the circus scenes sitting in row n
At times the music and singing was on the quiet side, particularly miracle. Otherwise they have pretty much resolved the one thing that kept me coming back
The reason I went was to see Gina Beck as Miss Honey and she doesn’t dissapoint. I particulalry love her acting, portraying honeys timidness and troubled past. She really let go in My House
Sara Munday was on as Matilda and she was a delight to watch. So was Rob Compton and Holly Dale Spencer as the Wormwoods
I was interested to see Haydn Tee as Trunchball. Whilst he is the worst Javert I’ve seen onstage, I could kinda see him in the role (and he certainly looks the monster in the production photos). Sadly he was off and Callum Train went on
Miss Trunchball is like Valjean and Javert really. You need an older actor than the youngsters that comprise the rest of the adult cast. Someone with a certain gravitas and maturity thats suitable for the role, who can be funny and scary. Callum Train was fine (even if he got tangled in the streamer/ribbon thing during The Hammer) but he wasn’t threatening or had a sense of comic timing
Still after staying away for years I was beaming at the end. It’s still one of my favourite musicals and Ronald Dahl adaptations
I think now that les miserables it’s loosing its iconic look, I now know which musical I’m booking for in the New Years sales from now on
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Post by David J on Jan 9, 2019 13:08:24 GMT
I wonder what ticket sales were like last year? Did that have an effect? Seeing how a lot of the productions have two directors and the histories cast are called ‘players’, I’m assuming they are following the rehearsal process they followed last year. Cast the actors, give them the roles later, and then make it up as we go along with no one single overarching vision. Confessedly I didn’t see as you like it and Hamlet last year after seeing the reviews, but this still doesn’t inspire confidence in me When I saw the donmars Henry IV I felt Sophie Stanton gave a good Falstaff, but she didn’t embody the role. There’s something about the gruff, larded, vain, ruffian Falstaff that a man can truly personify. I’d be happy for Helen Schlesinger to prove me wrong, but she’s got a hell of a task. Unlike Michelle Terry who is perfect for Hotspur. She can give a fiery performance like Jade Anouka Except for Bartholomew Fair (always wanted to see that) Ill wait for reviews before buying a ticket.
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Post by David J on Jan 8, 2019 21:44:13 GMT
Okay so I've had time to mull it over... I still remember as a kid being introduced to the musical via the 10th Anniversary Concert and watching entranced at the hulking wooden structures slowly swung and joined like two monstrous hands amidst the ominous music and billowing smoke as the barricades appeared. Nothing in the newer version tops that, along with the mentioned moment the barricades turn to reveal Enjorlas and the flag. Same for Gavorches' death. The newer barricades look titchy in comparison with obvious steps and places to stand, whilst the original ones you actually have to climb over. Then again Javert's suicide and the sewers are certainly superior in the newer version and the projections have their moments On the other hand, the start of the At the End of the Day is pathetic in comparison to the original's, with the silhouetted figures of the beggars. That said, I'd take the bombastic music in the newer version over the tinny orchestrations in the London production. This really divides me. It makes me wish I saw the musical when it was at the Palace Theatre. Of course, I'd like to see a fresh coat of paint to a production or a new direction. But at the end of the day, all I can say is...
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Post by David J on Jan 8, 2019 19:26:33 GMT
Got a ticket near the front for the last night as well. Am not letting the revoke go without a heartfelt goodbye
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Post by David J on Jan 5, 2019 22:18:56 GMT
Nobody does the HenryVI plays anymore. They conflate them into two at best. So good luck with that. They are a bit dull to be honest and clangy with lots of fighting but shame if you can’t complete the job. We'll keep an eye out. I’ll put a word in with Mr Doran 😘 Thanks but to be honest I find the histories quite boring, but I shall plough on regardless The Henry VI trilogy is like Game of Thrones combined with any mindless action movie series. Non stop action and two dimensional characters apart from a few exceptions like the future Richard III With the right director though it can be brilliant. Where the fights are brutal, the production values stylistic rather than historically accurate, portraying the hell england went through during the wars of the roses. Which is why I am not holding any hope that Doran will do it justice Honestly just take yourself up to Stratford for 2 days, go to the the Shakespeare Birthplace archives and watch the Michael Boyd version (preferably the roundhouse recording). That is a production I will never forget
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Post by David J on Jan 5, 2019 20:43:55 GMT
Seeing this for the third time, with my mum. So far i has prefer Rhys Ifan’s but Tompkinson is still good
I think Hugh Grant is in the audience, dressed as if he’s in one of his Paddington 2 costumes
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Post by David J on Dec 29, 2018 18:41:44 GMT
Watching this I thought this would have been a great exploration on today’s outrage culture where people’s pasts are dug up and their actions or words they’ve said are taken out of context and splattered all over social media as morally damning
It certainly felt like that hearing about the kids protesting outside who sound like they weren’t caned or even in the school when caning was around. They were just part of a collective moral witchunt
What this play could have done with was a bit more context on who the kids were and as memtioned above how the information on the caning was dredged up in the first place. In fact Mark Ravenhill should elaborated on a couple things such as the axe scenario
So not a bad play and Alun Armstrong undoutedly gave an emotional performance. At times it felt like he regretted giving up on his daughter. It just get skimmed over that and to me that’s the main problem with the play when it came to addressing some potentially serious issues
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Post by David J on Dec 26, 2018 23:08:43 GMT
Dick Whittington at the Mayflower was good, not great.
Part of me was expected the Palladium sets to be the QDOS sets but on a larger scale, but they looked just about the same. The giant rat was awesome, less the flying bus.
Steve McFadden was the highlight relishing playing the baddie as King Rat. His family was also in so undoubtedly he was giving his 100%
Otherwise, the other performances were good, but not standouts. My least favorite was the comedian-playing-the-idiot we have this year which is Bobby Davro. Never seen his work before and whilst he can do a good round of impersonations half the time I couldn't understand what he was saying, he talked so fast. In fact, some of the others could do with slowing down.
Otherwise, it's business as usual. Andrew Ryan had plenty of innuendos up his sleeve as the dame. Sheila Ferguson gives a perfunctory performance as the fairy. Joe McElderry and Suzanne Shaw were good as Dick Whittington and Alice. I realized it's been a few years since the Mayflower had the 12 Days of Christmas routine so that returned.
I really go to these for the comedians billing the show and Davro didn't have the spark as Barry and Paul Chuckle, Julian Clary and Brian Conley in recent years. At least he wasn't Joe Pasquale
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Post by David J on Dec 23, 2018 23:25:46 GMT
Well, I must say I really liked this adaptation.
I still found the animation a bit off but by the end it didn't bother me.
I also noticed some inconsistencies, such as an execution scene where they are trying to build up the tension, but then they keep cutting to stuff happening elsewhere that seem to happen over a longer period. So when they cut back to the execution I wonder when are they going to do the final chop. Also, a prominent character in the execution scene disappears for some reason.
This wasn't going to be as scary as the film, but they don't shy away from the bleakest moments of the story and there are moments of blood here and there.
But out of all the adaptations of Richard Adams' novel I have to say this is the most character-driven version I've seen. The series adds stuff from the novel as well as adding their own to expand on the characters and give them more to do. The film, whilst great, keeps the story going at a 90-minute run, which does affect the depth of the characters.
With Hazel, for example, the series takes its time to show his fears and trials to lead his fellow rabbits, expressed brilliantly by James McAvoy. And despite my reservations on the animation the facial expressions combined meant you follow what the characters are going through.
Overall I was impressed
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Post by David J on Dec 22, 2018 19:16:08 GMT
Are we going to have a thread for the performers that deserve recognition this year?
I've combine leading and supporting in these lists. These may get updated later on.
Actor 1. Ben Batt (York Realist) - Best Actor 2018 2. David Suchet (The Collection/The Price) - Best Supporting Actor 2018 3. Edward Hogg (The Wild Duck 5. Art Malik (The Village) 6. Tom Edden (Pinter 3) 7. Gbolahan Obisesan (The Mountaintop) 8. Jack Lowden (Measure for Measure) 9. Aidan Turner (The Lieutenant of Inishmore) 10. Pappa Essiedu (Pinter 1)
Actress 1. Patsy Ferran (Summer and Smoke) - Best Actress 2018 2. Adjoa Andoh (Leave Taking and Troilus and Cressida) - Best Supporting Actress 2018 3. Lyndsey Marshall (The Wild Duck) 4. Sophie Thompson (The Importance of Being Earnest) 5. Anya Chalotra (The Village) 6. Sophie Stanton (The Fantastic Follies of Mrs Rich) 7. Tasmin Greig (Landscape/A Kind of Alaska) 8. Pippa Nixon/Fiona Button (The Importance of Being Earnest) 9. Beth Codingly/Rebecca Lacey (The Merry Wives of Windsor) 10. Phyllis Logan (Switzerland)
Musical Actor 1. Leon Scott (Midnight) - Best Musical Actor 2018 2. Jonathan Bailey (Company) - Best Musical Supporting Actor 2018 3. John McCrea (Everybody Loves Jamie) 4. Louis Maskell (The Grinning Man) 5. Julian Bleach (The Grinning Man) 6. Zubin Varla (Fun Home) 7. Michael Ball (Chess) 8. Neil McDermott (Eugenius) 9. Duncan James (Chicago) 10. Patrick Page (Hadestown)
Musical Actress 1. Eleanor Kane/Brooke Hayes (Fun Home) - Best Musical Actress 2018 2. Patti Lupone (Company) - Best Supporting Actress 2018 3. Rosalie Craig (Company) 4. Tracie Bennett (Ruthless) 5. Clare Burt (Flowers for Mrs Harris) 6. Caroline O'Connor (The Rink) 7. Lucy Simmonds (Ruthless) 8. Jennifer Saayeng (Her understudy performance as Bobbie in Company) 9. Cassidy Janson (Chess) 10. Naoko Mori (The King and I)
Ensemble 1. Company - Best Musical Ensemble 2. The Inheritance - Best Play Ensemble 3. Pinter at the Pinter 4. Mark Bruce's Macbeth 5. Six 6. The Unreturning 7. The Plague (Arcola) 8. Troilus and Cressida (RSC) 9. Generations (Chichester) 10. The Grinning Man
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Post by David J on Dec 22, 2018 18:30:21 GMT
I've still got a few more shows to see so this could change. (PS I will post my top 10s in the Your 2018 thread early next year. I am not letting my yearly Best of spreadsheet go to waste. Yes I am that obsessed!!!)
- Company
- Pinter 1 - The Press Conference/New World Order/Mountain Language (I don't include the President and the Officer, One for the Road and Ashes to Ashes)
- The Grinning Man
- The Wild Duck (Okay it wasn't perfect, but that visceral and shocking second act is still stuck in my mind so I am going to include it here)
- Julius Caesar (Bridge Theatre)
2018 was a mixed for me. There was a lack of new plays that stood out for me, and it hasn't been a great year for Shakespeare. However there were some outstanding revivals, both plays and musicals. Some of which I see have been mentioned by others on this thread. This has also been a surprisingly great year for new British musicals.
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Post by David J on Dec 22, 2018 14:00:40 GMT
I thankfully avoided a lot of stinkers this year. I'd say the top 5 are actually bad, but the rest are worth mentioning for how average they were. Which means I will forget about them in a few weeks and wonder why I even saw these anyway (which in a way makes them the worst, whilst the top 5 are memorably bad)
1. Sweet Charity (Watermill Theatre) - I can't fault the efforts of the cast but I hated this musical. I didn't come out of any other show thinking how it wasted my time. A meandering first act until the musical finds a plot in the second half only to take a complete 180-degree turn out of nowhere at the end.
2. The President and an Officer in Pinter 1 (Harold Pinter Theatre) - To take a Harold Pinter piece that has never been performed before and turn it into a Trump bashing sketch. No. Just No.
3. Julie (NT) - A boring and pointless update to the play that doesn't make sense in this day and age.
4. Teddy (Watermill Theatre) - A lazy nostalgia trip through 1950s London with rhymed dialogue and rock music
5. Allelujah (Bridge Theatre) - Meandering and unfunny. Worst Alan Bennett I've seen so far.
6. Macbeth (RSC) - No clear vision from Polly Findlay except to throw some horror references and ideas together. Together with a unremarkable performance from Christopher Eccleston in the title role
7. The Duchess of Malfi – Over the top in the gore department and Maria Aberg’s mis-mash of ideas and staging created a production that was difficult to follow.
8. Macbeth (NT) – I didn’t think this was as awful as others have said. Rufus Norris’ post-apocalyptic vision was consistent, in comparison to Polly Findlay’s production, and it had its moments with good performance from the leads. It just didn’t make sense and looked cringy at times (cardboard armour and so on). And Rufus Norris’ directing made for some flat scenes
9. The Human Voice (Gate Theatre) – a potentially emotional piece let down by the gimmick of listening to the woman’s phone call via headphones whilst watching her through windows
10. Don Carlos (UK Tour) – This wasn’t necessarily bad. The acting was top notch, especially Darrell D’Silvia. However this was all dragged down by the set, or non-existent set, and directorial decisions. I felt the three hours pass by
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Post by David J on Dec 15, 2018 17:35:38 GMT
A mixed one this
On the positive side Simon Godwin has attempted to streamline this tricky play with some good results. Chiefly this is only 2 hours and 15 minutes and rarely slows down
I particularly like how Godwin has taken the repetitive scenes where Timon’s friends refuse to send money and combined them to be played at the same time. Nice use of lighting as they switch back and forth
On the other hand Alcibiades’ trial scene has been cut out. A scene that admittedly comes out of nowhere, but despite a hearty performance by Debbie Korley the scenes abscence means her motives are unclear in the second act.
By the way I wonder when Godwin decided to use yellow jackets for Alcibiades’ army
Timon’s opulence is nicely portayed by the golden set design in contrast the Black suited debt collectors and the desolate second half
The problem is that whilst Kathryn Hunter gives a good performance as the naive Timon, clearly she doesn’t have the vocal stamina for the demanding second act. She plays it safe during Timon’s misanthropic rants which as a result lacks impact.
I think Nia Gwynn would make a good Feste, but when it comes to the viciously cynical dog known as Apemantus her bite is lacking. It’s telling during her encounter with the misanthropic Timon where the two descend to hurling stuff and abuse at each other. Here it feels half hearted
Patrick Drury meanwhile tends to act his lines, delivering them with eloquence but doesn’t convince as the loyal servant Flavius
Everyone else though gives strong performances as Timon’s false friends, the debt collectors and the mob
I prefer the Simon Russel Beale production but this isn’t without its merit. A 2 hour 15 minutes production that doesn’t drag and makes an acceptable introduction this rarely performed play
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Post by David J on Dec 12, 2018 19:42:55 GMT
By advertising diverse casting this season I've now got this "have they cast a talented cast" mindset and I will need to make the effort and push that aside when I see these productions.
When I saw the Watermill Theatre's A Midsummer Nights Dream this summer I did not know they had a tone-deaf actress playing Hermia. They didn't advertise that casting so when I saw her I was certainly surprised but was able to look past that to see how well she worked with the others.
I have seen many productions at the RSC over the past 12 years where racial minorities are casted and it was obvious they were given the part because they had talent. If I can enjoy Chuk Iwuji and Patrice Naiambana give standout performances as Henry VI and Warwick in Michael Boyd's Histories then I can judge a diverse cast on face value.
Heck, my favourite Julius Caesar would be Gregory Doran's African production. Was that advertised on the ethnicity of its cast? No. It was clear that the casting and setting was part of Gregory Doran's vision for the play and it paid off. It almost felt as if Shakespeare set Julius Caesar in Africa all the time. All because of the efforts of Doran (before he became Artistic Director) and the cast
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RSC 2019
Dec 10, 2018 15:07:03 GMT
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Post by David J on Dec 10, 2018 15:07:03 GMT
I find it somewhat self-satisfied of Doran to explicitly highlight in his press release the diversity of the cast - it would be better to just cast it in that way but not to mention it, the aim should be to make it literally unremarkable. It’s just the same old virtue signalling bandwagon everyone’s jumping onto these days I just hope these actors were casted for their talent and not just to tick a box
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Post by David J on Dec 10, 2018 12:37:46 GMT
I'd be interested to see Sophie Stanton as Jacques after seeing her as Mrs Rich this year.
Always happy to see Sandy Grierson again, especially as Touchstone and Angelo
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Post by David J on Dec 10, 2018 12:33:02 GMT
Yeah, please don't associate that As You Like It with Gregory Doran's tenure.
To me that represented a glorious end to an era at the RSC
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Post by David J on Dec 6, 2018 18:04:35 GMT
There you are, then, david J - and also here we certainly have producers and other members in the profession - could this lead to the first Theatreboard production? Thanks a lot everyone. Certainly reminded me of some great ones there. Our director has already put forward Simon Gray’s Japes and were having a read through to see whether we like it. No idea what it’s like We had Pinters Betrayal at first but the venue thought their audience wouldn’t like it. Can’t say looking at the premise for Japes what the difference is
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