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Post by jgblunners on Apr 1, 2019 22:24:09 GMT
Imelda didn't take a wig off at the performance I attended. I thought it was very effective in Joanna's performance. I agree, I think it made the ending of that number more powerful and emotive. I can't remember Imelda's so I can't compare fairly, but Joanna's packed thst punch for me. I find it interesting to hear that, as I personally found the Imelda version without the pills and wig removal so much more effective. There was nothing to distract, just pure emotion and completely allowing the lyrics and Imelda's superb acting through song to pack the punch. In every other part of the show, I thought Joanna Riding was more appropriate for the role than Imelda, but those 3 minutes of Losing My Mind still belong to Imelda for me.
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Post by jgblunners on Mar 31, 2019 17:31:54 GMT
The Price tomorrow, Top Girls on Thursday
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Post by jgblunners on Mar 28, 2019 22:49:55 GMT
I was gonna comment on how cute you are but then OMG IS THAT A DOG NEXT TO YOU It's my cockapoo he's called Ruben, after the painter That's wonderful. I hope he cheered you up after not getting to see Rosalie ❤️
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Post by jgblunners on Mar 28, 2019 22:45:42 GMT
Anyone know why Clare is wearing the 42nd Street number blue dress and not the gold finale dress? Good question... I suppose they must've had a spare of the blue dresses that fitted Bonnie and so they both wore them in order to match for this special finale. I can't imagine they would've spent the money to make Bonnie a finale costume just for the 2 (correct me if that's wrong) performances at which she did it. Edit: ahh yes danieljohnson14 is right, I forgot that Bonnie would've had a blue dress for the end of Act One!
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Post by jgblunners on Mar 28, 2019 22:18:28 GMT
I was gonna comment on how cute you are but then OMG IS THAT A DOG NEXT TO YOU
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Post by jgblunners on Mar 28, 2019 12:52:32 GMT
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Post by jgblunners on Mar 28, 2019 12:08:09 GMT
Ooh exciting! I've been wanting to see this for ages, and sadly I couldn't make the concert version at Charing Cross Theatre a couple of years ago. The Original London Cast Recording is one of my most played.
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Post by jgblunners on Mar 28, 2019 11:57:49 GMT
In which case I hope there could be a new tour soon. Wasn't the latest rumour about a pop-up tent style thing, which could play in London then tour?
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Post by jgblunners on Mar 28, 2019 11:55:27 GMT
Since you asked for it... Although I don't know what profession you're in, turning up to an office job or similar while a little headachey or unsettled is manageable, but running around/dancing/singing your chops off on stage is a very different matter. In fact, quite a lot of performer absences for 'illness' are just as much about taking the time to recover swiftly as they are about being physically unfit to perform. If continuing to go on stage means it'll take you a few weeks to recover instead of a few days, it makes sense to take the time off.
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Post by jgblunners on Mar 28, 2019 11:51:26 GMT
The return of Lucian Msamati is exciting, he was sensational in Amadeus. Interesting that they've brought Translations back - they refer to it as a sell-out but I don't recall there being that much hype around it? Certainly not on the scale of Follies or Amadeus, their other recent repeats.
I'll still book for most of the season though - got to make use of Entry Pass while I'm still young enough!
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Post by jgblunners on Mar 27, 2019 22:26:56 GMT
The pros: it’s brilliant production-wise. The look, feel, and sound are just right and I thought very highly of all aspects of the design. Most of the cast are very hard-working and very talented. The cons: as singularsensation10 said, it just doesn’t feel genuine. I think it probably did when it was in very intimate venues and led by true MT actors. Berger did not feel like a hippy tonight, he felt like the high school jock who smoked some weed and decided he was king of the pack. Marcus Collins’ character was... what? A black activist? Too broadly drawn for me to actually believe him. While I have criticisms of Quickenden (who, despite possessing a decent voice, has possibly the worst diction while singing that I’ve ever heard in a musical) and Collins, Daisy Wood-Davis was actually pretty decent, although I wanted a bit more passion from her. Paul Wilkins was the saving grace of the principals, the character I felt came closest to being truly genuine. The supporting principles and ensemble were all fantastic. Stunning vocals and great fun to watch. I hope for their sake that they don’t end up playing to 1/3- full houses for the whole tour. I enjoyed it, but I wish I’d seen it at the Vaults. Oh, and I still have no idea what actually happened in Act One.
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Post by jgblunners on Mar 27, 2019 21:00:46 GMT
Well it’s the interval and I’m not quite sure what I’m watching... I think this might be one of those ‘you had to live through it to understand it’ things. Audience are giving a warm reception but the upper circle is closed and it’s a ghost town here in the dress - a shame, as with a packed crowd the atmosphere could be amazing... sending this on tour to mid-to-large houses was perhaps not the best idea.
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Post by jgblunners on Mar 27, 2019 14:56:39 GMT
I suspect it's also been hurt by opening around the same time as 9 to 5 - I reckon they've got a not insignificant audience overlap and 9 to 5 is the more recognisable brand with more recognisable (to the British public, anyway) performers in it.
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Post by jgblunners on Mar 27, 2019 14:43:56 GMT
It could actually do The Savoy after 9 to 5 if the extension doesn't go through. I think a medium-sized venue would be the smart way to move forward. Good call. The Piccadilly also has nothing scheduled after The Lehman Trilogy (ending 3rd August) and I think has a slightly larger stage than the Savoy. If I remember correctly this played reasonably large stages on its tour so Piccadilly is maybe also a possibility?
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Post by jgblunners on Mar 27, 2019 14:35:45 GMT
I just had they go somewhere smart than the Dominion. The Dominion has White Christmas booked from November; this announcement says the show will be coming in 'Autumn' so even if we push that back to, say, July, that's only a 4 month run. Now with that barn of a theatre that may well be all they are hoping to sell, or maybe launch another tour afterwards, but might they instead be going for a theatre that they can have over the xmas season? Surely with the film connection they'd be hoping to bring in a lot of business over the holiday period? Perhaps it's naive of me to think that it could compete with pantos or the famous West End shows purely on the back of the film and (maybe) a C-list pop star.
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Post by jgblunners on Mar 27, 2019 14:30:48 GMT
Just saw the website advertised on the big digital screens at Holland Park Roundabout - if the announcement is coming on Friday then I suppose this must be Baz's Thursday eve scoop this week.
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Post by jgblunners on Mar 26, 2019 23:23:34 GMT
Why must we say goodbye? Can't it just stay forever? Seriously, this is a monumental production. On the third visit I'm still taken aback by just how brilliant it is AND I'm still seeing new details, noticing idiosyncrasies, laughing in different places. Today what really struck me were the lighting design, sound design, and choreography - on my previous two visits I think I was so focussed on character that I sort of glossed over them, but today I definitely noticed. The clarity in the mixing is second-to-none, the lighting is both fun and purposeful, and the choreography is ridiculous but perfectly suits the occasion. 'Side By Side' really hit the spot tonight.
The performances just keep getting better - it's true that both Mel and Jonny were hamming it up a bit on my second visit, but tonight they were (along with the rest of the cast) perfectly pitched, had the audience eating out of the palm of their hands, and induced laughs galore. The whole 'Getting Married Today' scene was the funniest and most poignant tonight of all my trips to the show. And then there's Patti. The Queen. The Empress. The Deity. We truly are not worthy of her presence. Tonight, her voice was the strongest and clearest that I've heard across my visits, and the whole nightclub scene (before, including, and after 'Ladies Who Lunch') was jaw-dropping. She continues to mine new depths of the character, trying out new things but always staying within the remit of Marianne Elliot's direction. Her silences are just as captivating as her biting one-liners and glorious singing.
Of course, I have to mention Jennifer. She was every bit as good as Rosalie. Her voice is not quite as smooth as Rosalie's, but she has a little bit more power when she really belts it out. Her character remained true to Rosalie's interpretation, but (as others have said) was a little more open and emotive. I'm very glad I saw her in the role. Jaimie Pruden also did well as Jenny, and her priest was just as fun as Daisy's. Michael Colbourne is adorable. I want one of my own please.
Regarding those who were commenting on the running time - tonight it clocked in at around 2hrs 45mins, and the first act finished at pretty much 9pm on the dot, so despite the exclusion of Tick Tock it still ran slightly longer than when it opened (although the curtain did go up almost 10 minutes late tonight so that contributed). I think the extra time is coming from the Jiu-Jitsu scene, the pot scene and the 'Getting Married Today' scene - in each case, I think everyone was taking their time a bit more and pushing some more laughs out of it. In my opinion, the pacing of the whole show was perfect tonight.
All that remains to be seen is whether I can restrain myself from making one final (really final this time) trip before the week ends...
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Post by jgblunners on Mar 26, 2019 16:00:14 GMT
WestEndCovers are reporting that (perhaps unsurprisingly, given Rosalie’s tweet) Jennifer is back on for Bobbie tonight, with Jaimie Pruden again performing the split track of Jenny and the Priest. As an additional treat, Michael Colbourne is on for Theo today. I can’t wait to see him in that varsity jacket...
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Post by jgblunners on Mar 26, 2019 10:15:20 GMT
I was on standby for the TodayTix Rush and got lucky so I'm back for visit number 3 (might be my last - will I be able to resist another visit before the week is out? Stay tuned to find out). I'm in Stalls row L and excited to see which Bobbie I'll get!
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Post by jgblunners on Mar 26, 2019 10:13:39 GMT
Obviously I haven't seen her in it but that won't stop me from making a sweeping statement. I just think Louise looks and feels all wrong for Violet. I see her more as Judy to be honest. I agree - I can't imagine her having the authority or gravitas for Violet. Caroline commanded the stage, does Louise have the presence for that?
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Post by jgblunners on Mar 25, 2019 23:05:34 GMT
Just got home from tonight's performance and I thought it was absolutely brilliant. An utterly gripping analysis of how we perceive morality, judgement, and retribution. It quite rightly presents some uncomfortable truths and asks us to consider our beliefs when faced with the 'real people' behind the crimes rather than just a name in a news article. The critique of the American sex offender justice system was a little heavy-handed in the first act, but it gained some nuance in the second (which was overall stronger in my opinion). Fantastic performances from all the cast, treading fine lines and creating just the right atmosphere for the moment. A difficult watch, but one that is immensely rewarding in an are-you-prepared-to-reconstuct-your-preconceptions kind of way. Very informative and engaging programme notes too (which is to be fair usually the case at the NT).
Just to note, I was at the side of the Circle (N64, just over half-way along the side, slightly closer to the stage than the doors) and the restriction is minimal for this play - there are a few moments where you have to lean forward slightly to see characters, but by and large it's played centrally. I have a feeling low numbers side may have to lean less frequently than the high numbers side.
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Post by jgblunners on Mar 25, 2019 11:42:43 GMT
Tonight - Downstate Wednesday night - Hair
Will probably try to see Company at some point this week too
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Post by jgblunners on Mar 25, 2019 10:40:34 GMT
Tickets for the 'new' production at the Queen's Theatre are now on sale from Delfont Mackintosh - playing from December 18th. A cursory glance suggests that ticket prices are pretty similar, and not much is changing in terms of seating but they appear to be getting rid of the central aisle in the Upper Circle. I'm sure @theatremonkey can comment more confidently on the changes.
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Post by jgblunners on Mar 25, 2019 0:23:44 GMT
I'm booked for a Kaufmann/Monastyrska performance at the start of April - mostly for the opera itself rather than the casting, I must say. I'm not active enough in operatic circles to stay up to date with who the big names are so I didn't particularly care about seeing Netrebko, but have booked for Kaufmann as a friend of mine raved about his Otello. I am very interested to see Forza though as I don't have much experience with Verdi - I remember enjoying La Traviata but finding Il Trovatore a little dull by comparison. I've heard the Forza overture before and find it very dramatically engaging so I'm hopeful about this one.
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Post by jgblunners on Mar 21, 2019 21:00:34 GMT
Very happy with this outcome from the theatres’ side - from her, the silence says everything. I doubt she’ll ever budge. Just shows that homophobia still permeates everywhere in society, even in the one profession you’d expect to be the most welcoming. Anyway, I can now return to being excited about this production AND we can do what we do best on the board and speculate to our hearts’ content who her replacement might be...
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