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Post by Mr Snow on May 8, 2017 16:01:43 GMT
Thank you for the tip off, this should be an official group meet up. I do like Company.
Shame it's mid week.
Now, where do they sell Martini's?
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Post by Mr Snow on May 8, 2017 5:43:17 GMT
This is a perfect suggestion, IMO. There's a wealth of stuff going on out there and I pleased to know more about them. Musical Theatre doesn't only happen in the West End and Opera is provided by dozens of companies. I'm delighted to have found this site which has made me aware of some great opportunities that I wouldn't otherwise have known about.
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Post by Mr Snow on May 5, 2017 8:18:46 GMT
In my mind, the wedge between book and score gets no wider than in West Side Story. Horrible book, legendary score. So you dont think that story has legs? Are you trying to provoke a negative response, or would you like to justify the comment?
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Post by Mr Snow on May 5, 2017 8:16:01 GMT
Guys and Dolls has one of the best books of them all. If you are interested you should read up on this. Loesser read a few of Runyon's stories, fell in love with the characters and songs just poured out of him I think there were 19 when Abe Burrows was asked could he connect them all up? (Apologies if you knew that already.)
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Post by Mr Snow on May 5, 2017 8:10:20 GMT
If you don’t know anything about Aida then I’m guessing this is an early introduction to Opera? Good luck.
Aida is one of the crowning glories of Musical Theatre and I really hope you have a great time. Tuneful, influential and can be extremely moving.
But
Aida is really at heart a love story that can break your heart with sensitive production, conducting and singing and probably for that reason hasn’t been featured as much in Opera Houses today as it was in the past.
The Ellen Kent production is very traditional and as the addition of a horse suggests, goes heavy on the Spectacular (but with a very limited budget!). The problem is this unbalances the evening because fun though it is, it all happens in the first act. The real beauty unfolds during the Opera if the performers are good enough.
It will serve as a good introduction. I saw her tour of this a few years ago and it was Ok but I still hope to see great.
If you don’t have the inclination to get a CD familiarise yourself by spending a little time on Youtube Look for Celeste Aida. Pavarotti Aida. Grand March (You will know this one) O Patria Mia . Maria Callas.
(there’s plenty more highlights.)
Please report your findings here.
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Post by Mr Snow on May 4, 2017 7:33:27 GMT
I adore Carousel but I've always thought June is the wrong song. This production with its naff direction, technicolor set and jazz hands is terrible I wish I had seen the NT production and the recent Arcola - both of which got amazing reviews. However I did love the Opera North production which did the work full justice. The ENO production will be remembered for all the wrong reasons I saw both those productions and one (or two?) others The same problems remain and I liked this production more than many here Perhaps because I wasn't expecting it to be any good Love June and I'd see if I could have it opening act 11. Clam bake is the one I hate
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Post by Mr Snow on May 4, 2017 5:45:39 GMT
To call the first act ropey is an injustice to hemp. My only other previous experience of Carousel was seeing a national tour starring Sam Kane - I'm not familiar with the movie although I know the songs and story - but the first act felt like it was in a coma. The songs come out of nowhere, with little provocation, slowing the plot into a standstill. Its one thing to criticise a production and quite another to say the songs come out of nowhere. "The Bench Scene" i.e. where they meet, is commonly cited for as breaking new ground for (musical) theatre as a way of evolving a story through music, naturally. It was highlighted in the recent BBC4 series on musicals. I marvelled once again, at the way it unfolded. Something was out of tune that night and likely it was you. Carosel is one of the great glories of MT, despite many problems. That said, I agree with many of your comments re scale.
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Post by Mr Snow on May 3, 2017 16:44:30 GMT
You can still get the odd bargain from there - I got a good cheap ticket for half a Sixpence the other week. 3p? That is cheap.
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Post by Mr Snow on May 1, 2017 7:38:12 GMT
I'm not sure its Toryspeak to point out the necessity for profit. Its general knowledge. It is to anyone who's tried to run such a BUSINESS. It is depressing how little that is understood. A few people on here might like to think about the role PROFIT has played in theatre over the years. You can dismiss that as political speak but you can't deny how fundamental that is, as the original poster did by calling it greed.
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Post by Mr Snow on May 1, 2017 6:32:52 GMT
Simply put its down to greed on the Producers part. It the nature of the world we live in now. The people with the money want more money so they'll only invest in something they can see an easy recoup or profit out of. No-ones brave enough take a risk on anything creative anymore. And I thought I knew a little bit about theatre history. Please tell me who the Producers were who wanted LESS money? Please point to the shows that guaranteed an easy return. You are showing your political leanings that colour how you see everything. I would add that like many in society you have no understanding why PROFIT is ESSENTIAL in EVERY business.
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Post by Mr Snow on Apr 28, 2017 11:50:13 GMT
Wouldn't jazz hands exclude blind people? I'm more worried that students doing Jazz hands will be rather too inclusive for those of us with a 'sensitive' olifactory sense.
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Post by Mr Snow on Apr 27, 2017 9:31:34 GMT
Sheena Easton was very good. The dancing was very good. The rest of this show consists of lots of Americans shouting, is thin on plot and has no characters anyone really cares about. What do you go for, go see a show for? Its great.
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Post by Mr Snow on Apr 25, 2017 14:35:26 GMT
and I forgot Greg Dyke. Is he famous?
The commissioner of Roland the Rat at a Surrealist Opera. One for Private Eye?
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Post by Mr Snow on Apr 25, 2017 8:55:03 GMT
Thursday 2nd November. Smiles.
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Post by Mr Snow on Apr 25, 2017 7:15:09 GMT
Simon Callow at The Exterminating Angel ROH last night. I'm sure there were others, it was not quite the normal crowd.
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Post by Mr Snow on Apr 24, 2017 11:46:26 GMT
Tonight The Exterminating Angel ROH Thursday Violetta's Last Tango Wiltons Sat. Mat The Life. Southwark
' Was up at 3.30 this morning to 'catch the tide'. Do not ask me to review any of these. At least I don't snore.
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Post by Mr Snow on Apr 24, 2017 11:36:04 GMT
I own several fishing boats and have a Canning Factory.
When we can find some babysitters we love to visit a big city and go see shows. Though I sometimes enjoy them most on my own.
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Post by Mr Snow on Apr 22, 2017 20:28:56 GMT
Enjoyed it more than most here. First exposure to Boe and never mind the bits between songs he just cant' deliver a lyric. At that Miss Jenkins was so much better, great diction and a pleasant voice. She's the one i would like to see again.
Cant understand why Alex Young isn't getting more praise. Its a big stage and it was fine during the music but dragged when she wasn't on stage.
I actually loved Blow High, Blow Low/Hornpipe, so there's just no accounting for taste.
From the upper circle it looks like Mr Boe's wig has had a trim?
Some great insight on this thread thank you.
PS is Clambake the weakest moment in one on of the 'big 4' R&H musicals?
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Post by Mr Snow on Apr 22, 2017 8:04:57 GMT
Ah yes, I forgot Richard Rodgers wrote Oklahoma! all on his own... There's a story that the respective wives of R&H were at a party. Both were called Dorothy btw. Someone talking to them said "How lovely to be chatting with the wives of the writers of (lets say) Oklahoma!" Where upon Mrs Hammerstein points out "My husband wrote Oklahoma, her husband wrote DA-da,da,da..." (Probably apocrahly and a bit hard on Mrs H.) I wish I could be there, NOTHING compares to the visceral thrill of that title no. No record or film can capture the live feeling.
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Post by Mr Snow on Apr 21, 2017 11:33:21 GMT
We love you Parisians and feel for you. Will defiantly walk down the Champs Elysees.
Never give in.
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Post by Mr Snow on Apr 21, 2017 8:22:10 GMT
Very interesting to read the debate. FWIW, I'm with mallardo on this one. Even without the gender-swapping, I find the whole idea of a "contemporary" Company to be extremely problematic. I saw a local L.A. production a couple years ago which was well-sung and -acted, but which transported the action to the present day (Bobby played Xbox, used a cellphone, etc.). It just didn't work. And it wasn't only due to the "marriage" issue. Company comes from a time when you got busy signals, when people had answering services -- staffed by real people! -- to take and deliver messages. It was a time when smoking marijuana was still slightly scandalous, and zombies were cold, dead things and not flesh-chomping corpses. A time of "Scrabble on Sundays", the Kama Sutra, Sazarac Slings, and Vodka Stingers. (Thank goodness Boeing still makes jets or they'd really be in trouble.) These cultural references woven into the piece -- but the problem goes both ways. How do you have a "contemporary" show about modern relationships without reference to cellphones, texting, social media? Nowadays, your friends wouldn't sing "Have I Got a Girl for You"; they'd just make sure you had the appropriate apps on your iPhone. And they meet through Tinder and the Facebook friends Who they never know. Will you pick me up, or do I Uber there, Or shall we let it go? Did you get my voicemail 'cause I looked in vain? Can we check on Google Tuesday if it's gonna rain? Look, I'll text you in the morning or my Twitter will explain. And another thousand people just got off of the train...I think there's still a lot of value to be found in Company but would much rather see a production that embraces its era rather than try to deny it. I saw the Donmar production, the Radio 2 version at Hackney Empire and have a soundtrack. The music seems to be more disco/rocky (if such a hybrid exists) than some of his other scores. Defiintely less ‘showtuney’. So if it’s not to become just a period piece then it too will have to be ‘reimagined’. It’s amongst my favourite shows so I hope they can pull it off.
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Post by Mr Snow on Apr 20, 2017 5:50:50 GMT
Going to see my impersonator, Sat Matinee.
Can't be any good, I mean why is everyone talking about Julie and Billy?
(Very oddly I have noticed that another name I am somtimes known as, is shared by one of the dancers. We will be cheering for her!)
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Post by Mr Snow on Apr 18, 2017 12:03:49 GMT
Corbyn will have to be dragged out, not screaming but just talking his usual b+++++++s. He should be tried as a Traitor for undermining any concept of Democracy.
The SNP have been wrong footed and are currently at their weakest and this will hurt them dearly.
So here’s hoping one politician can put their hand up and make a clear case to lead opposition to the party that has been in power 25 of the 39 years since I’ve had the vote. Although it will be 30 of 44 by the time they next get a chance.
Now lets all get up and Dance!
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Post by Mr Snow on Apr 18, 2017 11:23:40 GMT
...are better than standing?
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Post by Mr Snow on Apr 18, 2017 10:20:46 GMT
I suspect 'gold taps' is a pun as they are often referred to as being an excessive, nouveau riche, form of interior decorating.
Doesn't excuse trying to Kid us about animal fur. (See what I did there!)
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Post by Mr Snow on Apr 17, 2017 21:16:51 GMT
Confused I am.
Hard to argue there's a musical better than Guys and Dolls. Love Frank Loesser and have wanted to see his other works for so long. Charley s Aunt at the Regent's Park Theatre was so enjoyable, Once in Love with Amy is irresistible. And after all this was only the 4th musical to win a Pulitzer Prize.
So why aren't I writing a glowing review? I wish I knew.
I know this piece pretty well. Saw the film years ago and have the Original Cast recording and yet the doubts were always there. There's some good material but...
So praise for this production which on minimal resources works well. Fast moving and stylish in London's most atmospheric space; what's not to love......
And the cast. Loved the women, Hannah Grover is delightful as the sassy but homely Rosemary (hard combination to pull off) with Geri Allen and Maisey Bawden also most impressive. And I enjoyed the male actors, no weak links. Everyone knew there parts and were well drilled. It looked good and (I'm struggling a little here).....
I wished I'd loved the band and arrangements more. A sensitive drummer and a horn based orchestra of 9 should have been right up my street. But...the overture left me cold and I missed things like the 'tap' sounds of the typewriter in A Secretary is Not a Toy (in fairness I think that came into its own in the film?).
Then there's the 'hero' of the piece. What a creep. Hardly surprising that “I believe in you” (by some way the 'great' song in the piece)came across less as a Hymn to Him and more a tribute to narcissism. I don’t know how you can sustain our interest in this part but neither did the director or the actor Marc Pickering. He was the best comedian on stage but...an impossible task? (its a problem in the film too).
I thought that some of the humour was under delivered and the participants came across as ciphers and cliché’s rather than rounded characters with an interesting perspective. Bit like the film really and I wonder if I'm somehow missing the point?
The show had a long run originally and Daniel Radcliffe recently made a success of it, so maybe it's possible to deliver it well. BUT I'm left thinking Loesser was a song writer and not a stage animal, He should never have taken this on. Even for Guys and Dolls he actually wrote a great no of songs for Runyon’s Characters and then left it to Abe Burrows to come up with a book and make it work.
Reading this back, I've been harsh. There’s much to enjoy but my hopes have been dashed and basically I don’t think its a great piece. Given the budget restrictions I think the team here have done really well but I 'm not surprised that they failed to produce a 'silk purse'.
Go see, but don’t expect to discover a neglected gem.
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Post by Mr Snow on Apr 17, 2017 15:58:01 GMT
For those who also love the Opera I stile the following form the Talk Classical website. ( I do hope I'm not doing anything to raise the blood pressure of the moderators.) "You might want to check out the Opéra-Comique and the Théâtre des Champs Elysées. The Bibliothèque-musée de l'Opéra. Or stroll around the Rues Meyerbeer, Halévy, Auber, Rossini, Grétry, Herold, Gluck, Massenet, Berlioz, Gounod, and Scribe. And do not forget going to see Père-Lachaise, if you never been before. en.wikipedia.org/wiki/P%C3%A...haise_Cemetery Rossini's crypt is there, but not the man himself. Auber, Boieldieu, Grétry, Cherubini, Méhul, Bellini, Bizet, Lalo, Charpentier, Chausson, Dukas, Enescu, Poulenc and Scribe are buried there. So too are Balzac, whose Gambara is about Rossini and Meyerbeer's grand opéras; Doré, who drew pictures of stage productions for the papers; the conductor Pierre Dervaux; singers including Affre, Grisi, Alboni and Callas; and some guy called Chopin who didn't write operas (but who did write variations on a theme from Herold's Ludovic). If I were in Paris, I'd visit the Montmartre Cemetery, where Berlioz, Delibes, Offenbach, Halévy, Adam, Massé, Maillart and Sauguet are buried. Adolphe Nourrit, the great tenor of the 1830s, and Pauline Viardot, the mezzo who created Fidès, are buried there too. (And Dumas, who wrote at least one opera libretto, and Le comte de Monte Cristo has a scene set at a performance of Robert le Diable; Marie Taglioni, who danced in Robert; Degas, who painted the ballet of the nuns in Robert; Stendhal, who wrote a book about Rossini; Théophile Gautier, who championed Wagner, and admired Halévy and Meyerbeer; Alkan, who arranged opera music; Heine, who was Meyerbeer's cousin; Adolphe Sax, who made instruments; Henri Meilhac, who wrote the libretto of Carmen and several of Offenbach's; and Henri Murger, who wrote the novel on which La bohème is based.) For scheduling, Iuse Bachtrack and of course Operabase. Also: Classictic website You could also visit a performance at the Versailles opera." So much to enjoy.
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Post by Mr Snow on Apr 17, 2017 15:38:07 GMT
Would love to see threads about visiting Cities. I'm sure we share many of the same interests and it would be good to share experiences. We're off shortly to Paris for maybe the 8th time over 40 years. One of my absolute favourite places. Love the city and happy to share tips and memories. The biggest mistake we made was one trip to spend all the Friday night just walking EVERYWHERE, its the perfect size for a weekend. Woke up Sat AM covered in blisters and had to spend hours in Cafe's watching others! Happy memories include about 23 years ago include a finding a shop in the Marias that only sold white Ladies blouses and a variety of styles. This was years before the White co etc. My wife bought one to compliment a suit she had. Wore it to an interview 3 days after she got back and that job made her career. Will wander around to see if we can find it again! We're going on the second May Bank Holiday. Staying in Monmartre and have tickets for Rigoletto at the new Bastille House. Want to book at least one more show. Like every other visit we will eat at Chartier. The waiters will be rude and the food so so, but the price is right and the experience hasn't changed in 130 years. en.wikipedia.org/wiki/Bouillon_ChartierAs we are staying nearby will likely pay a return visit to en.wikipedia.org/wiki/Lapin_AgileWhich is like a folk club but featuring Chanson. There's a vineyard opposite and its only 400 yards from the Sacre-Coeur. The advantage is that you don’t have to book so can just turn up if it suits. We have an anniversary to celebrate. So having eaten at La Coupule, Cafe Flore, its likely either Brasserie Lipp or Les Deux Magots this time. Having seen the Julie Delphy/Ethan Hawke trilogy want to retrun to Shakespeare an Co and walk around there. So What would you personally recommend? On the Monday we can have relaxed lunch before heading to the Gare Du Nord. Seafood on a Monday? Where else to eat? Near the Bastille? What preparation would you recommend to heighten the anticipation further? Plan to re watch Amelie, Before Sunset, Midnight in Paris. Reading. Do you know of a compelling history of the city? How about a thriller set there? The enjoyable (but trashy) Maestra starts in Paris. Street markets, I've heard about dinner dances near the Seine? Anyone been? The best website to use for info? Travel Guide?>A blog? All suggestions gratefully received. Merci.
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Post by Mr Snow on Apr 17, 2017 14:54:51 GMT
The Guildhall website is worth checking out, all sorts of musical events. Almost nightly.
Upcoming Operatic events.
a reduced Magic Flute FREE 22nd and 24th May
Radimisto Handel 5, 7, 9, 12 June
New works in association with ROH. 5,6,8, 10, July
Hear Sir Simon Rattle conduct a new Childrens Opera 9/7 A trip to the Moon
Crazy for You Gershwin (ok! but not starting another thread) £20 4,5,6,7,8,10, 12 £20
The Consul Menotti 30 10th 1,3,6, November
and who could resist 4 Profs and a Piano 4/5th.
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Post by Mr Snow on Apr 14, 2017 8:02:20 GMT
Sadly the link doesnt seem to work for non subscribers? Hint. I understand you can cut and paste a significant chunk here for 'review' without givng the mods any headache about copyright. Love his theatres and live half way between the Hackney Empire and Theatre Royal Stratford. Learnt to love Opera in the Colliseum and have a trip to Buxton on my bucket list. en.wikipedia.org/wiki/Frank_Matcham
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