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Post by jgblunners on Nov 17, 2017 12:06:05 GMT
What level of booking is it today? (Also John doesn't appear to be sold out at all, the seats left can't possibly *all* be set aside for Amex bookers? I expect they'll have kept some back for public too.) Ah I should've said, it's the Entry Pass tickets that have sold out
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Post by jgblunners on Nov 17, 2017 10:38:38 GMT
I was exactly the same - waited in the queue for half an hour, but then managed to get the exact seats I wanted for the exact dates I wanted for both Macbeth and Absolute Hell. No luck with John though - despite all dates showing availability on the list view, on the actual seat booking page they all showed as 'unavailable'. Not sure if they all sold out or there's some kind of error.
Edit: All dates for John showing as sold out now on the list view, must've just been my browser not updating properly.
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Post by jgblunners on Nov 15, 2017 17:38:25 GMT
I'll be at Amber's last - my first time seeing her!
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Post by jgblunners on Nov 7, 2017 22:28:01 GMT
Where are people getting this information from? On the website you can still only book until October 2018
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Chess
Nov 3, 2017 12:07:08 GMT
Post by jgblunners on Nov 3, 2017 12:07:08 GMT
Happy to see that the £15 balcony row B seats are there on some dates! I'll probably get one, but it doesn't look like they're flying off the shelves so will probably wait for the casting announcement.
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Post by jgblunners on Nov 2, 2017 8:53:43 GMT
I'm really hoping they do some sort of day seats/lottery for this - I can't afford to see it at full price, but it sounds like something really special
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Post by jgblunners on Nov 2, 2017 8:49:28 GMT
Ouch, those prices are painful. Was going to book a £12 balcony seat, but now I think I'll wait until casting is announced if I'm going to have to fork out more than double the money for the same seat
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Chess
Oct 27, 2017 19:40:57 GMT
via mobile
Post by jgblunners on Oct 27, 2017 19:40:57 GMT
Kerry Ellis seems to be retweeting and liking a looooooot of tweets from people saying they want to see her as Florence. It probably doesn't mean anything, as she surely wouldn't be allowed to make hints if the casting hasn't been announced yet, but it at least implies that it's a role she's had her eye on...
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Post by jgblunners on Oct 26, 2017 10:11:33 GMT
Heard good things from the Palladium concert, so I'm booked in for the last preview. £10 for the end of row C - a bargain even if it's a side view. You can listen to a 'preview' of the cast recording here: www.smarturl.it/eugenius01I quite like the sound of it - on the website it says that the music is "Ben Adams’ homage to all the great sounds of the ‘80s" but I think it's also got a late '00s/early '10s pop feel to it. (I'm also really hoping that Amy Lennox signs on to the run at The Other Palace because she was brilliant in Kinky Boots and sounds amazing in these songs)
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Post by jgblunners on Oct 23, 2017 9:42:23 GMT
My current obsession is the OBCR of Company - in my quest to listen to as many different versions as I could, I discovered that none of the revival recordings compare to the original orchestrations or performances.
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Post by jgblunners on Oct 23, 2017 9:39:53 GMT
I'm seeing it in both Bristol and Southampton! Me too! It'll be interesting to see how the cast develop between February and October!
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Post by jgblunners on Oct 22, 2017 20:12:41 GMT
I'm seeing it in both Bristol and Southampton!
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Post by jgblunners on Oct 20, 2017 7:59:14 GMT
Are there any musicals booked for Southwark between now and May? I've been checking their website since The Life and it looks like they've cut back on musicals. Just the new Bananaman musical I think
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Post by jgblunners on Oct 16, 2017 12:28:44 GMT
One blip where they had to redo (did Rosalie miss an entrance)? I think Alex Parker brought a music cue in too early, so John and Rosalie were still in the middle of their dialogue as the music was playing - hence why Rosalie missed her cue. When they then reached the actual cue, John spoke to Alex and he brought the orchestra in at the right place. Rosalie did look a bit unsure about her entry there, though. Probably disconcerted by the orchestra coming in too early.
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Post by jgblunners on Oct 16, 2017 9:32:59 GMT
The today tix ones have to be bought today but can be used for any performance this month. Fifteen quid or a tiny five pound if you use the code UHJOI at checkout ☺ Bargain! And if that code doesn't work, why not try FQLNX ;-) I hear YMZXT is a good code to use ;P
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Post by jgblunners on Oct 15, 2017 21:10:31 GMT
This concert was an absolute treat - I couldn't imagine a better cast, and the orchestra sounded sublime! It reminded me what a stunning score South Pacific has - deceptively simple but full of emotion and delight.
Concert performances are fast becoming a favourite of mine simply for being able to hear these beautiful scores at their full potential. For R&H especially the score just isn't done justice with a small pit band.
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Post by jgblunners on Oct 15, 2017 21:05:35 GMT
You make a valid point, but it's been said before on this forum that people tend to post positive opinions of shows on twitter but not negative ones. People who disliked something or felt ambivalent about it aren't as likely to jump straight on Twitter to say so as those who respond more positively. On here, we tend to get a mix of opinions and people being honest about both positive and negative aspects of shows, so in that sense it's more representative, it's just that criticism tends to stand out more than praise on this forum because it often sparks more discussion.
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Post by jgblunners on Oct 15, 2017 20:55:43 GMT
I was also at the matinee and loved it! The cast (who are all bloody brilliant) works so hard and the material is hilarious with some fantastic music too. Hopefully I'll get to see it again before it closes because it's such a fun show.
I really wish it was doing a bit better at the box office, but as others have said that's what happens when you try to charge West End prices for a small show in a small theatre with a small cast. I payed £28 for central Row C through TodayTix and wouldn't have payed much more.
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Post by jgblunners on Oct 15, 2017 11:59:40 GMT
Yes I agree that the megamix at the end was too long, but fitted with the the feel of this production and was a nice bit of fun.
Reading my review back next to everyone else's make me realise how much I was willing to look over the low quality aspects of this production just because it was such a feel-good show and I came out of it on such a high. I felt I just about got value for money with my £38 front row ticket, but I wouldn't want to pay any more than that for this production. There were indeed a lot of elements that felt cheap or tacky.
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Post by jgblunners on Oct 14, 2017 17:02:50 GMT
This was such good fun this afternoon! After being in love with the score for so long, I'm so happy to have finally seen the show live and really did not disappoint. My worries about the set looking cartoony were ill-founded - for the most part it works for the style of this production, although from the front row some of the set pieces did look rather cheap. The lighting design is fantastic, and despite the band being quite small they produce a really good sound (although the synth strings were very obvious). Apart from a couple of wigs that looked a bit suspect and some questionable outfits for Elle, the costume design was good too. The choreography was mostly good, but felt a bit 'let's do an action for each lyric' at some points.
Act one was noticeably flatter than Act two - jokes didn't hit the mark quite as well (although that's partly to do with the American references that just go over the heads of most of us Brits) and I felt that energy was lacking from some cast members. Act two perked up though, and showed how wonderful this show, and this cast, are.
Lucie Jones took a little while to warm into Elle's feistiness, but once she did she was magnificent. Her voice is beautiful and is really quite powerful when she lets rip. She acted the emotional rollercoaster in Act two wonderfully.
Rita Simons was a massive surprise, she stole the show for me. Her portrayal was exactly what the role calls for and she hit the mark perfectly. Her voice blew me away too! I loved that she put in the growliness and had a strong enough belt to sustain those higher notes.
Bill Ward was ok as Callaghan, but I wish he would be less fidgety! I also didn't like that he was a bit shouty in his speak-singing. He could sing perfectly well so I don't understand the shoutiness. With some refinement he could be great in the role.
All the other principles were fantastic and I really can't fault any of them - I won't list them all but this production has an absolutely phenomenal cast. I had a little MT nerd moment of glee upon hearing the actress playing Vivienne nail the signature high A at the end of 'Legally Blonde Remix'.
I was very pleasantly surprised at the quality of this production considering the lower price they're selling tickets at compared to other big tours at the moment. Yes, some aspects look a bit cheap, but otherwise this production is really fantastic and I defy anyone not to have a whale of a time watching it and come out with a massive smile on their face.
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Post by jgblunners on Oct 14, 2017 10:46:41 GMT
I know it's far in advance to be asking this question, but do we think it'll extend again or is the 20th of October likely to be closing day so that they can start the renovation? I'd really love to be at the very last show because I can't imagine how electric the atmosphere will be, but at the moment I'm seeing the Wicked tour in southampton on the 20th of October!
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Post by jgblunners on Oct 13, 2017 9:08:30 GMT
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Post by jgblunners on Oct 12, 2017 16:51:59 GMT
It's a stagey weekend ahead for me!
Saturday: Legally Blonde matinee in Woking, Die Zauberflöte at the ROH in the evening
Sunday: matinee of The Toxic Avenger then South Pacific at Cadogan Hall
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Post by jgblunners on Oct 12, 2017 16:37:51 GMT
Just got out of the matinee and wanted to say how phenomenal Kelly Mathieson was as Christine! The best of the three I've seen - she was shy at first (as Christine should be), but got wonderfully fiesty and has a voice to die for. Her 'Wishing' was the best I've heard. Her voice also blends with Ben Lewis' very well, so 'Past the Point of No Return' (in my opinion one of the best songs in the score) sounded absolutely gorgeous (unlike on the 25th anniversary CD, where Ramin and Sierra butcher it by shouting most of the lines after the climax).
Lewis is a good Phantom - lovely voice, although not as good as JOJ's in my opinion, and while his Act 2 was good for characterisation I felt he was slightly going through the motions in Act 1. Jeremy Taylor is fine as Raoul - not a patch on Nadim Naaman, but there's nothing to complain about with his performance other than a couple of phrases that I thought he sang a bit too loud.
Lara Martins as Carlotta, though, left quite a lot to be desired. Her voice was thin and tinny and she was sloppy on the intricate sections - Carlotta's supposed to be a substandard actress, not a sloppy singer. All the rest of the cast were good.
Two further remarks:
1) I will never forgive whoever made the decision to cut Carlotta's high note in the climactic chord just before 'Prima Donna'. The chord just sounds incomplete without it. Listen to the original cast recording and then the 25th anniversary and tell me it sounds anywhere near as good without that high note. I don't care if it's a bitch to sing, all ALW scores are.
2) Oh my, the orchestra sounds amazing. There's no denying that the decline in the size of bands for musicals is a terrible shame - Phantom and 42nd Street both sound magnificent with their (comparatively) large bands.
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Post by jgblunners on Oct 5, 2017 9:41:34 GMT
Just nabbed a TodayTix rush ticket for The Ferryman tonight!
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