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Post by Mr Snow on Dec 4, 2017 9:20:37 GMT
Phantom gave tickets away as a thank you for help at our wedding -back when it was new! Miss Saigon – can’t remember why, but didn’t go with Mrs Snow. Les Miz. Once Wicked. Twice
Guys I could agree with you – but I don’t. This thread is interesting because its full of LOVE. And let’s not forget, plenty of shows in the past have subsequently come to be recognised as great when many dismissed them at the time. Ours are just opinions too.
Anyone seen Wicked 1000 times? We took my nieces this summer and they loved it. We were sitting behind an old guy who knew all the staff by their Christian names and I’m convinced he was a paying customer. He was very happy with that nights display and a joy to be near.
(Teacher you’ve just been told off!)
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Post by Mr Snow on Nov 30, 2017 15:54:27 GMT
The cougher should have gone to la boheme where she'd have fitted right into the narrative and enhanced the atmosphere of the production. Lord Goodman used to say the real diffwerence between La Boheme and La Traviata, was that one of them could afford a Doctor.
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Post by Mr Snow on Nov 30, 2017 15:50:20 GMT
I started wondering about this reading the thread on how many times people have seen the same musical. One or two of the respondents had worked in a theatre and it made me think there must be shows you quickly come to despise? But then there must have been some when you’ve tried to watch as much of every performance that you can?
I speak as someone who can’t listen to overly familiar music anymore, e.g. The Beatles, because it just lacks surprise. And its always intrigued me that a bunch of ‘creative spirits’ can rehearse for several weeks and then basically do the same job over and over, for long periods. Some actors will even return to the same play again and again. Comments welcome.
I guess it comes down to the fact that you’ve chosen to do this and must have some knowledge of what to expect before you go in, but which plays/musicals etc have you changed your opinion on after repeat exposure? Either positively or negatively.
(The same could also be said about performers?)
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Post by Mr Snow on Nov 30, 2017 15:38:17 GMT
Can't help wondering about those who've been ushers/programme sellers etc. How quickly can love turn to hate?
I think this deserves its own thread.
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Post by Mr Snow on Nov 29, 2017 20:00:42 GMT
Still computerless but I had to take to my iPhone to hurl down curses on Sam Marlowe for a damning two-star review of ‘Cinderella’ at Hackney in the Times. He praises a number of things but then decides it is no good, presumably as an adult show as he makes no mention of how the children in the audience enjoyed it. Maybe there were not many children in on press night. Anyway, as a show aimed at children it is a complete success in my view to judge by the response of the many youngsters there last Friday afternoon and Marlowe is way out of order advising Times readers not to go to see it. I may have to write a letter to the Editor about it. Hrrrumph!! I think you should write that letter. And if published I promise to buy a ticket and go. Haven’t been to one at The HE since Clive Rows days when my daughter was young. Do I have a bet?
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Post by Mr Snow on Nov 29, 2017 16:02:49 GMT
Is Lloyd Grossman still a “celebrity”? I wasn’t going to mention seeing him at The Arcola last Friday night, but now he’s stalking me. 3 days after the first time I’ve ever seen him, he turns up at a Charity Fair I’m helping at in the Guildhall. A coincidence you say? Just how naïve are you?
I much preferred it back when my stalker was Sophie Ellis Bextor. At least she only showed her face in the theatre, where I could feel safe amongst the crowd.
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Post by Mr Snow on Nov 29, 2017 14:54:03 GMT
My jaw dropped when I started reading this thread....my hackles rose at some of the choices ...and then I recognised fellow addicts. Addicts to the pleasures of a story told in song and dance.
So after reflection, I salute you one and all. You wonderful and I wish there were more of you.
(Probably Pal Joey, 5 x the same summer, about 35 years ago.)
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Post by Mr Snow on Nov 27, 2017 19:53:01 GMT
And at the Hackney Picturehouse and several others.
We have complimentary seats after I wrote and told them how bad the live screening was.
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Post by Mr Snow on Nov 27, 2017 15:47:32 GMT
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Post by Mr Snow on Nov 27, 2017 14:52:34 GMT
...poor girl. Can she know what she's letting herself in for?
Seems a nice lad, but I wouldn't wish that position on anyone.
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Post by Mr Snow on Nov 27, 2017 14:02:59 GMT
Pleased you liked it. I was going to comment on it being the first production I’ve seen in about 20 years with no surtitles to distract. Don’t know anything about the company but it does seem like they went for a mix of new and experienced singers, all of whom had excellent diction. This really helps deliver the text and the laughs were at the right time. Obviously this is Opera in English in a small scale hall (300 seats?) , but it was refreshing. Can’t find a website for the new co but their list of patrons was most impressive and hopefully this is not the last time they visit Wilton’s. Then like the London Omnibus…two come at once! So 7 days later we went to a new reduced production of Eugene Onegin at the Arcola. Again, sung in English. Again, no surttiles. Again, we could understand every word! It has a few cuts but it worked very well. No programme to hand so can’t name the Young singer who played Onegin but he had a lovely unforced voice. Tanya (didn’t need to change that) was not so easy on the ear , but overall it was well cast. If anyone is interested I can find out which cast we saw. Runs until the end of December. www.arcolatheatre.com/event/eugene-onegin/ I’m seeing Onegin next week. After Flute I was slightly anxious thankfully you have given me hope I’ll be very interested in what you make of it. Don’t know it at all well but preferred this to the ETO version at The Empire a couple of years ago. Warning do not pre-order any food. Probably the worst “Charcuterie” in London.
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Post by Mr Snow on Nov 27, 2017 13:19:06 GMT
Pleased you liked it. I was going to comment on it being the first production I’ve seen in about 20 years with no surtitles to distract. Don’t know anything about the company but it does seem like they went for a mix of new and experienced singers, all of whom had excellent diction. This really helps deliver the text and the laughs were at the right time. Obviously this is Opera in English in a small scale hall (300 seats?) , but it was refreshing. Can’t find a website for the new co but their list of patrons was most impressive and hopefully this is not the last time they visit Wilton’s. Then like the London Omnibus…two come at once! So 7 days later we went to a new reduced production of Eugene Onegin at the Arcola. Again, sung in English. Again, no surttiles. Again, we could understand every word! It has a few cuts but it worked very well. No programme to hand so can’t name the Young singer who played Onegin but he had a lovely unforced voice. Tanya (didn’t need to change that) was not so easy on the ear , but overall it was well cast. If anyone is interested I can find out which cast we saw. Runs until the end of December. www.arcolatheatre.com/event/eugene-onegin/
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Post by Mr Snow on Nov 24, 2017 6:36:41 GMT
These reviews are ridiculous. There’s Viva Forever and Stephen Ward and this. Sure the costumes were naff and not all the songs were great but the entire audience was crying at the end. The journey you are taken on is very special. London jobsworth, miserable, left wing, musical hating, feminist, over thinking, academics with often their own social agenda or insecurities should not review musicals - it just doesn’t work and they are never going to love what many of us cherish and adore. But then we are lucky to have you to balance things, clearly you are a man with no chips on his shoulders...
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Post by Mr Snow on Nov 23, 2017 16:49:33 GMT
I realise that Schaeffer put this in to show that the Emperor was too dim to appreciate Genius because there were 'too many notes'.
I realise I must therefore be a genius, because I find that ‘entertainments’ with too few notes, soon become tiresome.
After all a fight scene is just a dance without music, but how much better a dance with music is.
No contest. Q.E.D.
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Post by Mr Snow on Nov 23, 2017 15:05:16 GMT
As a side point, we were celebrating last night so treated ourselves to a meal at the theatre restaurant, The Other Naughty Pig, at the Other Palace. It serves sharing plates, the service is good (and very French) and it takes away the stress of a pre-theatre meal. The wine was only so-so, but the food was excellent. Agreed. Particularly the more 'startery' ones. There was a yummy salad (hard to make that sound exicitng) and a great Crab dish.
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Post by Mr Snow on Nov 21, 2017 13:01:59 GMT
Hello Ruby
Surely it can't be a coincidence?
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Post by Mr Snow on Nov 18, 2017 9:48:39 GMT
The beautiful Diva Andrea Marcovecci used to be a regular in London and she would give a brief run through of her career highlights "Hill St Blues, The Algonquin,Carnegie Hall and now....Pizza on the Park!"
Because the audience is there to see the artist it mostly works. Over the years we've also enjoyed Steve Ross, Mose Allison and Harry 'Sweets' Edison (trumpeter to Basie, Billie Holiday and Sinatra). Friedman is in good company.
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Post by Mr Snow on Nov 17, 2017 8:22:14 GMT
Do male singers tend to have longer careers? There are exceptions both ways.
Would Franco Bonisolli fit this category? His recording career lasted only 12 years but it maybe it was his behaviour that made him unemployable? Prime amongst those those I saw early and watched their career blossom and then fade fast, was Linda Esther Gray who I believe became ill and was unable to resume her career.
Many singers do overcome vocal problems e.g. Kaufmann? And some careers seem to peak early. Rosalind Plowright quickly rose to the top in the Italian repertoire in the 80’s, aided by her dramatic looks and fine acting skills. She seemed to go ‘quiet’ in the 90’s and reinvented herself in mainly German roles this century.
Mainly I’m backing your observation.
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Post by Mr Snow on Nov 16, 2017 22:38:43 GMT
Hackney picture house had visual problems all through the first half. I went to "complain" after a total 3 sec blank screen and silence near the end of Mirror Mirror. Ordered a drink to sooth the nerves and on my return the picture was fine but sound lacked any base and was 'glitching'. Gave it two nos and went back to see the same lady who blamed atmospheric conditions and the satellite link and said "every cinema was experiencing the same problem".
Clearly this wasn't the case. I would be interested in hearing more and I will write to them.
Great pity as it was very revealing after previously seeing it live from the balcony.
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Post by Mr Snow on Nov 16, 2017 14:11:09 GMT
Has anyone seen it in the last week who knows what they’re talking about? I imagine the dancing has slipped a lot by now? You could try and read back over the last week's comments if you are really interested.. E.g. Re Tonyloco's post on the 10th. "Just to report that I paid my eighth visit to 42nd Street tonight in A24. Philip Bertioli was on as Billy but otherwise it was the full first cast, and Jae Alexander was conducting (and smiling beautifully). The thing I concentrated on tonight was how complex all the main dance routines are with a huge variety of tap steps, movement and groupings as well as knock-out costume changes within some of the big numbers. We also have ballet dancing used for comic effect in 'The Shadow Waltz' and some slightly more serious toe-work in the mirror section of 'Keep Young and Beautiful' within the 'Dames' sequence. The almost throw-away tapping in 'Go into your dance' is delightful (Clare does a lovely jetée that you have to be paying attention to catch, the waiters who tap on and off to shift the table and chairs are fun, and of course we have all the other big production dance numbers jam packed with amazing tapping including the opening rehearsal number, 'We're in the money', 'Lullaby of Broadway', 'With plenty of money and you', the staircase part of the finale and then the encore back on the flat stage with Clare, no longer a youngster but now a real star, leading the company and filling the whole stage by herself with things like her circuit of whirlwind spins like a prima ballerina in a Petipa ballet but continuing to tap as well! In fact, I had a really crazy fantasy that the whole show was really Petipa meets Busby Berkeley meets George Balanchine! The dancers never seem to tire and the energy level is astonishing. And I was entirely satisfied with the ending! I know I am not alone in my response to this wonderful show but I just want to share my continuing happiness every time I see it. And all still for £15! " Read more: theatreboard.co.uk/thread/1322/42nd-street-theatre-royal-drury?page=120#ixzz4ybVMoOj0
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Post by Mr Snow on Nov 15, 2017 13:52:57 GMT
Good review. We were at the evening performance and it was also just over half full and whilst UI was hugely impressed with the play, it did seem a long evening in the trenches. The school parties did remain engaged though. Conversely the timelessless (a word?) of the production helped keep it as a meditation about war, rather than being preachy. It was first time I’d seen the play and I read that Brecht revised it because audiences found her too sympathetic. Casting a well loved actress like JL made it hard to see the worst in her actions and this had to have affected our take on the piece.
Agreed that the action behind our seats was a huge mistake though.
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Post by Mr Snow on Nov 15, 2017 11:21:44 GMT
Intimate performance with Jason Carr on piano. I've booked for the Friday. Bit of a Christmas treet. Have a thanks for the heads up. She was terrific at the Trafalgar Studios a few years ago. I can only guess she doesn’t want long runs at the moment, or surely we’d have seen more of her on stage? We’re going Thursday.
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Post by Mr Snow on Nov 14, 2017 15:41:44 GMT
If you have time, it's worth popping in to the Sir John Soane's Museum in Lincoln's Inn Fields, part of a square of fine houses near Holborn tube station (it's a bit tucked away but it'll be signposted). It's free to visit (but closed Mondays and Tuesdays) - it's the historic house / museum of a collector and has been left almost unaltered for nearly 200 years - very atmospheric and like stepping back in time. Great recommendation above. Go at dusk as its lit by (fake?) candles and so atmospheric in winter. If you have a strong stomach visit the Royal College of Surgeons Museum directly opposite in the very elegant Lincolns inn Fields. Some to the instruments are truly bizarre. And if you can find a partner and want to promote a little romance, then how about going Ice Skating in the Quad of Somerset House? Another one I don’t think mentioned above. Is walk through either the Temple or Grays Inn (approx. north and south of Lincolns Inn Fields) Wonderfully atmospheric and I belive the Tempest was first performed in the latter? For free theatre you can while away an hour in either The Old Bailey or the Royal Courts of Justice . Also strongly back Emicardiff’s suggestion of walking the river along the South Bank from opposite the houses of Parliament to shad Thames (beyond Tower Bridge). If no time for that then there’s great views from Harvey Nicks Restaurant at the top of the Oxo Tower on this route. A boat trip to Greenwich is another great day out. If you want to get round faster use a Boris Bike? You did say you were here for a year, didn’t you?
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Post by Mr Snow on Nov 14, 2017 13:20:00 GMT
Hard for me to add anything but I like her in Falstaff with Gobbi and Moffo/Karajan, EMI. Surely Legge?
My favourites are the Rosenkavalier and Hansel and Gretel.
Some Christmas present ideas being added to my list!
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Post by Mr Snow on Nov 14, 2017 9:43:59 GMT
Busy week
Followed Twistov round the streets of Brick Lane last night Mother Courage tonight. Follies in the Cinema Thursday Rakes Progress, Saturday Evening.
All away from our normal West End stomping ground.
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