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Post by chrisorsomething on Sept 24, 2016 9:43:58 GMT
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Post by chrisorsomething on Sept 23, 2016 8:00:10 GMT
You're beginning to understand, then.
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Post by chrisorsomething on Sept 23, 2016 7:42:17 GMT
It isn't a recording of the original West End production. It was restaged with a new director.
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Post by chrisorsomething on Sept 23, 2016 6:25:32 GMT
chrisorsomething said:Copyrights, contracts, red tape. Royalties and residuals, high production costs (£250,000 approx) let alone legal fees drawing up contracts and whatnot. There are always reasons behind the scenes! Further to the above, I don't understand the confusion. It all comes down to contracts. Whether it's crowdfunded or not makes absolutely zero difference. Wicked is an IP (intellectual property) with undoubtedly a very complicated structure of backers/producers. There are legally binding contracts in place between those, the creators, possibly original cast members, upcoming movie producers etc to prevent exactly this from happening. Why? 1. Asset protection. If I own an IP worth X million that was raking in X million easy profits, with the cast album still selling to anyone who hasn't already got a copy, then why risk damaging my brand with a cast recording which is potentially going to damage my brand. 2. Niche market. You think everyone is clamouring for a new cast recording. They aren't. The average Joe/Joanne doesn't care like you do. It's just another musical. They don't dayseat, they don't know any of the actors names - they probably don't remember any of the characters names. They just want showtunes to sing along to in the car. 3. And most importantly. Contractual obligations. A movie deal has been signed which will, undoubtedly mean a movie cast recording. Any other cast recordings released will be in direct competition to the sale of theirs and therefore reduce profits. Finally, please look at The Phantom of the Opera. Ever wondered why there hasn't been another cast recording? It's in Michael Crawford, Hal Prince, Sarah Brightman and a host of other people's contracts that an English language album of the show cannot be produced without their consent. Well, why don't they just give consent? They're so mean! That'll be because they earn very healthy royalties on every single cast recording ever sold. Enough for Crawford to essentially retire on. Any deal they signed would still involve paying them - even if they aren't on the cast recording. Read more: theatreboard.co.uk/user/1053/recent?page=3#ixzz4L3ddYaGV
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Post by chrisorsomething on Sept 23, 2016 6:21:37 GMT
Thanks for sharing this, it sounds like a feature length EPK!
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Post by chrisorsomething on Sept 22, 2016 18:05:18 GMT
In other words I doubt there will be an official recording released purely for contractual reasons
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Post by chrisorsomething on Sept 22, 2016 18:04:09 GMT
I think I went off on one about this in another thread and related to another show (maybe Phantom) but it's all tied into contracts, residuals, movie soundtrack deals etc etc etc. Boring stuff which fans don't understand/care about so choose to ignore and continue with their discussion
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Post by chrisorsomething on Sept 22, 2016 17:59:53 GMT
Come to think of it, he looked very dodgy going down the stairs. Bambi on ice sprang to mind...
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Post by chrisorsomething on Sept 22, 2016 17:56:21 GMT
^^^ sorry I did a search but couldn't find it on the first few pages!
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Post by chrisorsomething on Sept 22, 2016 17:37:50 GMT
Just out of this afternoon's matinee (row K centre stalls, box office, £25 at 2pm today).
Once again a short preface as per my Les Mis/Go-Between reviews last week. Phantom is my second favourite show and again, I've seen it an embarrassing number of times here, on tour, on Broadway, in Hungary, you name it.
This afternoon was really, really bad from virtually every aspect. A midweek matinee - this much is true, but the show from the get-go was badly lacking in energy. It felt tired and limped to a finish. In fact, when the front tabs get bounced in the curtain call for the final bow, the applause had all but stopped such was the apathy.
It was a such where nothing seemed to go right. Errors left, right and centre; from memory "Why So Silent" ended with the Phantom running off stage into the wing (this looked pre-arranged, as everyone reacted in advance) instead of falling through the trapdoor. Then the crew managed to crash the Masquerade staircase trucks into the masking curtain during Madame Giry's tale. The candle in the Final Lair first didn't click on, then the lasso pyro didn't pop. The Phantom's fire stick thing only fired three shots before breaking, then when the flames went up at the end of the scene two were missing entirely.
There were a couple of lyric flubs from principals and the start of "Prima Donna" was messy with the managers out of time with one another.
It just felt very lazy and phoned up by all really, but here's a breakdown;
Ben Forster: Hmmm!!!
The good: he's tall and looks good in the costume. Vocally adequate to be on the stage in the role (see below). Not the worst to have played the role in town.
The bad: distractingly camp. His gestures seem exaggerated and flamboyant, not in a seductive, cool as ice way but in a screaming out and proud way. I should add I don't know anything about the bloke but I understand he was in a talent show and did Jesus Christ Superstar. I didn't see that but I'm afraid I did see him in Elf. Next, what the hell is that accent? Is he Irish? American? Australian? His vocals reminded me of Peter Jöback (not a good thing). He is attempting to put on a "Phantomy" voice, but it keeps slipping into a bit of a nasally whine. His acting is outrageously hammy at times (his comical organ bashing after Music of the Night) and in the Final Lair. To finish on a positive, in recent years we've not exactly been spoiled and he didn't look much worse than some of his predecessors on a bad day (Jöback, Rauch, Shannon).
Celinde Schöenmaker: I really liked as Fantine. She sings fine as Christine, arguably looks a touch older (which is fine) but has a weird singing technique I didn't notice before. She sort of belts through her teeth ala Ruthie Henshall or Kerry Ellis and it can make it look like she's constipated and straining. She also seemed to be on autopilot this afternoon and if she couldn't give a **** why should I.
Nadim Naaman: A bit of a poor man's Ramin in the role. Vocally quite good (if reserved) but plays the role ala Robert Finlayson as a boring toff with no charisma or chemistry with Christine whatsoever. Also looks quite short next to Schöenmaker onstage. Very average.
The managers (both the principals) oddly felt like understudies to me. It's hard to describe, they just weren't "right".
Carlotta was understudy Charlotte Vaughan. She was fine. Looked younger than Christine sadly. Singing was okay. Tried hard.
Paul Tabone was just about the standout of the cast and he played Piangi, one of the naffest main parts. His singing was great and accent sounded natural.
Nothing to say about Meg and Mme. Giry. They were exactly the same as always.
So disappointed with this, it'll be a while before I go back
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Post by chrisorsomething on Sept 22, 2016 12:45:53 GMT
Whereas I think it's fine to say "hey, that performance didn't work for me", but think it's not only ridiculous but also mean-spirited to say "WELL FACE FACTS THEY LITERALLY CANNOT ACT/SING EVEN THE TINIEST LITTLE BIT LET'S NAME AND SHAME". But hey, maybe that's just me. Jennifer? Is that you?
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Post by chrisorsomething on Sept 22, 2016 10:58:41 GMT
The fantastic Making Of book goes into some detail on this and is well worth a read, as is an outstanding retrospective I wrote a few years back "What Went Wrong?" for my old blog.
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Post by chrisorsomething on Sept 22, 2016 6:01:04 GMT
Being workshopped. New creatives, same producer. All very hush hush. Won't happen until 2018 at earliest subject to funding. The producer, Kevin Wallace, allegedly lost his savings in this and was haemorrhaging cash by the day. If it comes back expect something more akin to The War of the Worlds original arena tour than the stage production from 2005.
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Post by chrisorsomething on Sept 21, 2016 22:54:40 GMT
My list, focusing on exclusively stage performers and exclusively those who do musicals as a first job. It's too easy to take the **** out of bad singers like Russell Crowe, Johnny Depp etc because they are film stars first and foremost.
1. Jennifer Ellison. I just hate this woman and have a grudge. Absolutely talentless.
From 4:50. Just as bad in the show, except she wore a comedy wig.
Words fail me.
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Post by chrisorsomething on Sept 21, 2016 22:46:28 GMT
Jason Donovan -- yet he still gets work!!! Wonder if he'll be in the Kylie Musical? Donovan really has good and bad shows. I think he can sing. I really liked him in Priscilla, The Rocky Horror show and both Parson Nathaniel and The Artilleryman in The War of the Worlds. On the flip side I couldn't stand him as Sweeney Todd, was a bit sh*t in Chitty Chitty Bang Bang and the less said about his Captain Von Crapp the better.
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Post by chrisorsomething on Sept 21, 2016 22:40:02 GMT
The only JVJ I can recall ever being promoted to full-time was Sean Kingsley and that was a disaster. These big shows don't like bumping up understudies - generally, you have to leave and then come back. Doubt he'll get it.
Anyone who knows Cam Mac's internal casting policy knows it's always "safety first". In the newest Miss Saigon making of DVD he says (paraphrased): "I'm not really one for changing things that don't need to be changed".
That's why we see the same, trusted performers again and again and again and again in the biggest shows.
I reckon someone experienced in the role will return. There qre hundreds of covers over the years who perhaps have "deserved" a run but they are told they are "too valuable" in the ensemble or other such nonsense and not given a break.
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Post by chrisorsomething on Sept 19, 2016 5:56:17 GMT
Just wish it was Tanya Manalang. I'll bet there is a pro-shot of her produced too - they usually do a run with the alternate as the practice run to get the shots right etc. Now THAT I'd love
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Post by chrisorsomething on Sept 18, 2016 21:09:39 GMT
^^^ the second tour was basically the West End reboot with a projection instead of a physical helicopter
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Post by chrisorsomething on Sept 17, 2016 22:25:01 GMT
I've been told this will be the essentially the 2006 "small" tour. Therefore no helicopter, just an extended projection.
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Post by chrisorsomething on Sept 16, 2016 3:00:17 GMT
I was there Wednesday night (centre of row C, stalls, £45 from TKTS bought at 2pm).
I should just preface this review by outing myself as a massive fan of this show - it is my favourite musical - so if I seem hung up on any minutae then I do apologise! I have seen the West End production in excess of fifty times, including every cast for the last 15 years and the tour three times, and this performance truly ranked up there among the very best of them. So much so that I'm bothering to review it! Because of this, I'm going to focus on the cast and performance rather than the material which obviously has been covered a zillion times.
I last saw the show in Jeremy Secomb and Rachelle Ann Go's second week and came away somewhat disappointed, in truth. They were clearly still finding their feet and the show felt a bit lacking, despite outstanding performances from Carrie Hope Fletcher (who I luckily got to finally see before she left - she'd been off every visit prior) and the outrageously good Enjolras, Bradley Jaden.
What an absolutely outstanding performance I attended - and on a matinee day! The cast (and audience) were absolutely electric - the cast were feeding off the audience and the whole thing - from the Prologue onwards - never slipped in quality or intensity, which is rare for this particular show.
The Good:
Adam Bayjou covers Wednesday nights and makes an excellent Valjean. Whilst vocally he is strong enough, but nowhere near many before him, his acting choices are exactly how I love the role to be played. He plays the role with calmness, pathos and humanity and never once feels as though he is trying too hard with the whole saintly analogy. He is, from memory without checking all my programmes etc, the only Valjean I've seen NOT to do the 'Valjean'/Colm Wilkinson 'voice'. He simply sings the role in his natural (London?) accent which is such a breath of fresh air. His solo highlights were an electric Soliloquy and Who Am I, but he was at his absolute best when NOT singing out full belt. For example, he actually THINKS about the words in 'The Well'. He even cracks a smile when greeting Cosette ("Don't cry, show me where you live") something I don't think I've ever seen before. And then when meeting the Thènardiers, he quietly explains to the Thènardiers that Fantine has died, rather than belting it at them at full volume;
(quietly) "Now her mother is with God"
*beat - Mme. Thènardier looks confused and mouths "I don't understand"*
"...*gesturing towards Cosette*... Fantine's *beat while he searches for the right word* suffering is over"
*Mme. Thènardier "gets" it*
It's these small touches which add humanity to the character, rather than just an actor singing the lines as powerfully as they can without thinking about the scene. He has a couple more lovely moments like this, such as in the Final Confrontation, "look DOWN, Javert, he's standing in his grave". It's hard to describe but it's truly as though each word he sings has actually been considered for its inflection, meaning and intensity. Sometimes less is more and Bayjou nails it. I suppose the opposite of this type of Valjean would be Simon Bowman, David Shannon, Mike Sterling - that kind of extremely melodramatic performance.
Rachelle Ann Go has improved immeasurably since my last visit. Her "I Dreamed a Dream" is beautifully sung and her death genuinely brought a tear. Really helped by having a reactive Valjean, their chemistry was absolutely lovely. Definitely in the top percent of Fantine's I've ever seen, with Celinde Schoenmaker and Carmen Cusack.
The Thènardiers (David Langham and Katy Secombe) are over the top, hammy and hilarious. Loved the new Master of the House direction as it is a scene in which I usually switch off. He is certainly a comic type of Thénardier, more alike Stephen Tate or someone like that than a nasty one like Ashley Artus or Barry James.
Craig Mather looks and sounds awfully like Rob Houchen before him and he obviously fits the current vogue of casting this part. Young, blonde, handsome and vocally adequate. His performance is strong and feels sincere though. It's a shame I've only seen him in two incredibly wet roles (Marius and Anthony in Sweeney Todd) as he probably has more in his locker.
I really wasn't sure about Johnny Purchase, covering Enjolras, but I grew to rather like him as the performance went on. He initially had a bit of an understudy 'feel' about him, (ill fitting wig, vocally quite safe) but again, impressed with his acting more than anything. He really felt like the leader of the students, his diction was great and had lovely interaction with Grantaire and Marius. He had a quite annoying vocal habit on longer notes though which I sort of got used to "before we cut the fat ones down to sooooooize, before the barricades arrooooooooooize". It's unusual as singers are taught to make an 'ah' sound and on both of these words with an 'ah' sound he makes an 'oh' sound. Weird. Still, I ended up quite liking him!
Eva Noblezada sings with an attempt at a cockney accent. Now, I say attempt because it takes a real tour around Europe, North America and Australia to reach the East End. She has a strange habit of screwing her face up and looking like a bratty teen who isn't getting her own way (she also did this as Kim in Miss Saigon). Vocally, she clips notes short and, probably hindered by the accent, makes some weird vowel sounds which sound like she's gurgling. Then "On My Own" and "Little Fall of Rain" happen and all is forgiven. The former feels as polished and perfect as though she's been singing it in front of a mirror for 15 years, it's powerful, she DOESN'T cheat the finale and 'pretending', and earnt a rapturous ovation. No sign of the strange accent to be found, she sings it beautifully. A Little Fall of Rain likewise, and she actually acts this well. At the interval I was ready to 'rank' her in my mind as one of the poorest I'd seen.
The less good:
Zoë Doano is a bit annoying as Cosette (I know they all normally are, but she was noteworthy for it), she singing is a bit too shrill and shrieky for my tastes and she only has one expression. BUT, she had some nice moments at the end of 'In My Life' with Valjean, but I feel this is perhaps despite her rather than because.
The kid playing Gavroche... not good. Weak voice, bad diction, seemed extremely nervous (is he new? Little blond lad) and couldn't even throw the bullet bag high enough - pah)
Adam Pearce is very, very distracting with his over-the-top gurning and improvisation. His Bamatabois is just about tolerable as it suits the character, but he does it as EVERY character and it's so noticeable because he has such a distinctive face. I'm sure he's a lovely bloke, etc, etc, and it's nothing personal but I really wish he'd just fall in line and stop trying to upstage all of the time. I remember hating his Thénardier too.
The absolutely bloody fantastic:
Jeremy Secomb is a force as Javert. When I saw him just after he started I was a little disappointed in earnest. He had been great as Sweeney Todd and I'd seen his Phantom a few times over the years and loved it each time. He seemed to be acting within himself and playing it very cautious. Well, all that has changed! He completely dominates the stage every time he's on it. His Stars brought the house down and was the highlight of the whole evening. He was absolutely manic by the suicide without ever becoming cartoonish or ridiculous (I'm looking at you Jerome Pradon). I really can't rave about him enough. It is true that he barks most of his lines - which can make him come off a bit shouty ala Philip Quast/Mike McCarthy/Earl Carpenter but it is so appropriate for his characterisation. He was completely in the moment and the audience were rapt.
Also a special word for the audience, who were absolutely electric. A spontaneous standing ovation on the final 'One Day More' happened around me, which I have never experienced before the lights have come up for the curtain call. I can't wait to go back, the only thing is, if I do it will probably disappoint.
I've seen this show at death's door (circa 2004 with Sean Kingsley as Valjean) playing to bored 2/3 full houses and rumours of closure. It's had dips and highs, as all long-runners do, but right now is the best it has been since John Owen-Jones/Hans Peter Janssens over ten years ago. If you ever needed an excuse to go back, now is the time.
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Post by chrisorsomething on Sept 15, 2016 0:23:16 GMT
I saw it a few weeks ago and it was a shadow of the tight, slick feast that I saw a few months after opening. The cast were not a patch on the original and the whole thing just felt rather flat. Bertie Carvel was outstanding and the chap I saw was average. The little girl was annoying, which I didn't find before. Dennis Pennis was really good in it too. And the chap who played the Doctor, Tim something, he was terrific too. And Lauren Ward was perfect as Miss Honey. It all just felt a bit second rate in comparison,
It's just the natural "slide". Happens to all long-runners to varying degrees. Just needs a freshen up. Full cast rehearsals with the Director rather than the Res would be a huge help, it does the trick usually.
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Post by chrisorsomething on Sept 14, 2016 22:47:45 GMT
This has really gone to sh*t...
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Post by chrisorsomething on Sept 14, 2016 17:10:33 GMT
Saw the matinee today, full cast.
I'm not sure why I waited so long to pull the trigger on "The Go-Between". Perhaps it was the somewhat underwhelming hype and low-key press surrounding Michael Crawford's latest West End musical venture. Perhaps, with time and finances at a premium, such a small-scale production can feel like something of an risk.
The Go-Between was an unknown quantity for me; unfamiliar with the narrative, I really wasn't sure what to expect. Sitting four rows back in the stalls (£25 day seat, theatre box office, half an hour before show) in the barely one-third full Apollo Theatre stalls, it is fair to say I wasn't expecting much in terms of spectacle.
And I was right, in that the show certainly isn't an action-fest. It is however a gentle and warm little affair which is hard to feel very much of anything about.
The play introduces an elderly Leo (Michael Crawford) reminiscing with a diary from his childhood. Crawford is on-stage for almost the entire running time, confronting the traumatic memories of one fateful summer.
The plot is decidedly thin and developments slow, but just about well-enough paced to prevent boredom, as the 12 year old incarnation (imagination?) of Leo (Luka Green) is roped into acting as a courier of secret love-letters between vaguely aristocratic Marian (Gemma Sutton) and fiery local farmer Ted (Stuart Ward). Anyone who remembers "The Fast Show" will be disappointed that Ralph does not make an appearance.
We are given lots of the usual aristocratic clichés, including a game of cricket (the highlight is that young Leo catches a ball), an arranged marriage and, of course, lots of words like "oik". Leo's childhood best friend, Marcus (Samuel Menhinick, sporting a very 21st century set of dental braces), is well played with nauseating arrogance; think about the brattiest little sh*t and multiply.
The music is pretty, if unmemorable. Richard Taylor's score, performed by the sole musician Nigel Lilley on-stage at a baby Grand piano, consists mainly of layers of pretty harmonies for the talented and experienced cast to savour. Not one tune, however, do I remember - it really isn't that kind of show.
The set (Michael Pavelka) is disappointing up-close. Featuring one static set, augmented by a clumsy "magic box" trapdoor centre stage, it fits nicely in the stage space but looks cheap. The trucks for each join of the wall don't align perfectly either, leaving big cracks where they don't sit flush. Small oversights bothered me too - like a cricket ball with no seam which was bright orange(!), a poor oversight from the stage management team. The costumes are attractive, however and the lighting is minimal. It really is a very simple show with no special effects of note aside from a few sound effects.
The cast are where this production stands out. Crawford is fine as the lead (and the reason the show was greenlit I have to assume) but it is the cast surrounding him which caught my eye. Gemma Sutton is outstanding as Marian, really bailing her second act dramatic moments. She is also absolutely beautiful to boot. Stuart Ward is equally as excellent as Farmer Ted ("your potato wife's turnip dead") his tricky Norfolk accent sounds spot on too, without sounding like a bumpkin. The kids are both great - they're stage school kids, they're little robots, after all.
There are some dodgy moments (hilarious swimming dives into the wing) and some laughably over the top acting from the family matriarch (Issy Van Randwyck) in the finale which felt cartoonish and out of place. Worth seeing as a new musical -new to me at least - and it all washed over me without feeling bored once. But I wouldn't bother seeing it again. Except to see Ms. Sutton, eh eh, wink wink, nudge nudge, know what I mean?
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Post by chrisorsomething on Sept 14, 2016 16:13:25 GMT
Sorry! Yeah West End. Wandering around Soho right now but anywhere in Leicester Square/Covent Garden area!!
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Post by chrisorsomething on Sept 14, 2016 16:05:31 GMT
Hi all, sorry for the off-topic post but I'm posting it here as I'm in a hurry and this forum has the highest views. Can anyone recommend a decent, reasonably priced place to eat between shows? Just come out of something and really fancy a burger or something. Any hidden gems from fellow theatre fans?
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Post by chrisorsomething on Sept 14, 2016 10:24:16 GMT
They are generally very disappointing, in my opinion.
Mary Poppins is the shining example for me: I came away completely cold from what was an extremely slick and polished production. I think Julie Andrews is so synonymously attached to the role that the average popular young stage actress du jour is just not going to cut it for me. Even if they are doing what is ostensibly a Julie Andrews impersonation. In that particular show, as visually arresting as it was, I felt the new material was weak as well, really adding nothing new to the movie and taking a whole lot away,
The Wizard of Oz - I felt exactly the same. The producers essentially sell the show through nostalgia of the movie. The problem there is that in these two examples I wished I was home watching the much superior movies!
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Post by chrisorsomething on Aug 27, 2016 11:09:28 GMT
Enjoy the show guys. Remember though, there are lots (most, except the 50 or so diehards) who are just there to enjoy a regular performance. I have been to a few performances which sadly have been ruined by "fans" acting inappropriately. As the cinema owner in Father Ted says, "we must think about other people"
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Post by chrisorsomething on Aug 26, 2016 16:17:24 GMT
She should worry more about her lack of talent and terrible attitude.
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Post by chrisorsomething on Aug 25, 2016 6:06:59 GMT
I am tempted, especially with Sam Lupton in the lead! Why would that tempt you? Just curious.
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Post by chrisorsomething on Aug 25, 2016 6:04:45 GMT
Are any cast members scheduled to be on holiday in 2-10 December 2016? Thanks... ST [br Someone is bound to be. Your best bet is to keep an eye on the understudies respective social media pages.
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