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Post by dan on Oct 30, 2016 21:58:05 GMT
Wow I must have got it on a good night? Or else I'm hopelessly easily pleased I do note though that the bad reports of this ALWAYS refer back to the original and how this doesn't match up. I guess that means Ghost can never be revived again, unless the revival is going to surpass that original staging. Which is doubtful. While I did love the original staging / effects etc... I've seen some fantastic amateur productions of Ghost that I loved, so I don't think it's about being like the original. This "professional" production was well below amateur versions I've seen, particularly casting! But... like I said before, I may revisit in Nottingham and HOPE it has improved in some small way.
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Post by dan on Oct 27, 2016 22:45:34 GMT
I truly wish I'd had that experience. I went in wanting to love it, which may have been my error, as I adored the original production. I do have a ticket for Nottingham in December that I wasn't going to attend after seeing the abysmal production in Wimbledon, but I'm considering revisiting it based on what you've said there. It's not necessarily that the songs need a belt, but to rewrite melodies that don't quite provide the same build or impact didn't work for me. I really hope that if I do revisit, it can redeem itself from the shambles I saw a couple of months ago. And that wasn't just Sarah. I'm quite jealous of your experience of the show! Well, I've no idea about rewriting melodies. I have zero investment into the original because despite being impressed with the stagecraft of it I found it totally forgettable. If you want a repeat of that show then it's not going to happen, no matter whether it's SH or anyone else. It would be interesting to hear your views after seeing the opening at Wimbledon and whether SH and the show generally has improved by the time it gets to Nottingham. But don't go on my account, you may still hate it To be fair, my expectations couldn't be any lower at this point, so it either maintains that or improves for me! Maybe I'll go for research so I can compare/contrast!
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Post by dan on Oct 27, 2016 21:57:46 GMT
I truly wish I'd had that experience. I went in wanting to love it, which may have been my error, as I adored the original production. I do have a ticket for Nottingham in December that I wasn't going to attend after seeing the abysmal production in Wimbledon, but I'm considering revisiting it based on what you've said there. It's not necessarily that the songs need a belt, but to rewrite melodies that don't quite provide the same build or impact didn't work for me. I really hope that if I do revisit, it can redeem itself from the shambles I saw a couple of months ago. And that wasn't just Sarah. I'm quite jealous of your experience of the show!
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Post by dan on Oct 11, 2016 20:20:50 GMT
If anybody, for some bizarre reason, wants a ticket to see this in Nottingham in december, do let me know as I'm willing to let go of it for a drastically reduced price! I can't imagine sitting through it again. (I bought it before I'd seen this production for what it's worth!)
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Post by dan on Sept 19, 2016 9:39:32 GMT
Given what comes after...
All The Wasted Time - Parade.
This devastates me every time. Completely.
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Post by dan on Sept 15, 2016 16:44:49 GMT
I saw the original tour of this and the set, design, illusions and special effects were incredible. Can anyone shed any light on what features or doesn't as the case may be? Particularly illusion, effects wise... The digital screens from original tour? No. Walking through a door? No. Letter opening on its own? No. Body swap near the end? No. hand going through objects? No. However you do get sets made from something barely thicker than paper that wobble around. And items floating between peoples hands on wires. And people being dragged off by visible people. And just a red light popped on for "bad" deaths. And Sam walking to the back of the stage at the end and just stood looking at the back for a bit. And Oda Mae just standing to the side when Sam is supposed to be using her body. And body replacements for dead characters done ultra slowly. And a moving car being a light shone on from side of the stage. All of that with some incredibly poor lead performances. What more could you ask for?
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Post by dan on Sept 14, 2016 22:40:27 GMT
I want to get rid of my ticket for Nottingham but they won't accept returns/refunds. You could just place it in a waste receptacle. Which is where it is likely to end its journey at this stage.
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Post by dan on Sept 14, 2016 16:14:13 GMT
1* from me. I'm afraid some good ensemble performances couldn't save this for me. 2.5 hours of feeling uncomfortable and tense because of performances is an epic waste of my money. I am trying to think if two great leads could save this, and I think they could make it good, but the production is still bad. I do hope it's improved since I saw it. I want to get rid of my ticket for Nottingham but they won't accept returns/refunds.
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Post by dan on Sept 13, 2016 18:49:29 GMT
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Post by dan on Sept 11, 2016 19:36:49 GMT
Love that tweet from Liam Doyle. I imagine he's a great Sam. And their Molly is fantastic, singing the song in the original key and he melody as intended. And acted to perfection too. Very jealous that Asia get the great tour!
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Post by dan on Sept 3, 2016 18:26:56 GMT
I apologise... I wish we did have the Asian tour though.
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Post by dan on Sept 3, 2016 18:04:28 GMT
I'm not sure, but assume that it follows the blueprint set by the first uk tour (and possibly uses it's set!). It's nowhere near the quality of the first tour! No screens or digital projections. Just floating scenery that wobbles. No illusions. And awful awful casting. (And some cut songs, shortened songs, etc)
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Post by dan on Sept 3, 2016 17:25:46 GMT
I tweeted ATG and Bill Kenwright productions to see how to complain about the appalling production for the cost, and they told me to email atgcustomer@theambassadors.com I would encourage others to do the same if they are so inclined as I'm now really angry at how much I spent on travel and tickets to see this shambles. The lead performances were simply atrocious. When you hear the pianist bashing the melody out loudly you know your leads are incompetent. Their timing, tuning, and tone were awful. The acting made us feel uncomfortable and tense. I can't actually believe how bad it was.
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Post by dan on Sept 3, 2016 8:25:16 GMT
That review is a flat out lie anyway. There was definitely no standing ovation at all!!! I can't even think of any illusions either! Maybe there was a newspaper and a gun on a string! That's about it.
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Post by dan on Sept 2, 2016 21:21:35 GMT
It's difficult to know where to start having just left the theatre. I wish I'd never entered the theatre now. This was the worst "professional" production of a show I've probably ever seen. The casting is atrocious. The two leads both equally inadequate in my opinion in terms of acting and singing, only Sam's songs don't quite expose him vocally as much as Molly's. The acting was dire from both. I don't want to just be mean about them, as they just simply shouldn't have been cast in this at all. There were audible laughs at points there shouldn't be, lyrics forgotten, lines missed out, songs cut short etc. Tuning was a huge issue, but equally so was timing! Bars out sometimes and the pianist was actually playing the melody for the leads a number of times loudly to help them (which didn't work). Just wow. I think it could be saved if you recast the two leads and add in a few illusions to sell moments better. I have booked for another later in the run which I'm definitely going to try and cancel. The original London production was one of my all time favourites for many reasons, and this tonight was way way way below even the amateur productions I've seen. It was like watching a school production, though that feels disrespectful to schools. I can't actually believe it. It's laughable but has made me angry at paying good money for this "experience".
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Post by dan on Sept 2, 2016 11:09:47 GMT
Loved the Broadway production, I am the only person who seems to loved it though. I really liked it. Just for me the last 10/20 minutes seemed to drag a little musically. Loved most of the songs, the cast were gray, illusions were great.
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Post by dan on Aug 29, 2016 8:44:55 GMT
I'm truly surprised at the glowing reviews etc based on what I saw. Which confuses me a lot as I'm so easily pleased, generally speaking, with the theatre, and rarely does a show turn me off. Even shows that are universally panned I typically enjoy something about. But this production, or more specifically, the night I saw it, turned me off the show so much and even made me delete Sister Act from my playlist. I've also realised that I became really quite poorly the day after, so perhaps my experience was tainted with illness and I should maybe give it another go some other time. However, the parts I found offensive are still very likely to do the same again. I desperately want a good experience of the show as it was up in my top musicals and has since plummeted off the radar of my list.
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Post by dan on Aug 10, 2016 22:20:49 GMT
Hi, new to this forum ! I'm gonna see the plays next Sunday (13:00 and 18:30). I need to collect my ticket from Box Office that day. Is the queue for collecting the tickets usually long ? Do you think it'll be fine if I show up at 11:30 approx. ? That's plenty early enough! We didn't get there until about 12:15pm. Queue for tickets was non existent and we got through security in 5/10 minutes too. Enjoy!
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Post by dan on Aug 5, 2016 23:54:03 GMT
i see Paul Kieve is listed who did awesome illusions for Matilda and even better for Ghost The Musical, nowhere I don't remember there any illusions in this? Seemingly appearing back in his bed despite still being on the opposite side of the stage. Couple of things like that.
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Post by dan on Aug 5, 2016 6:48:57 GMT
Not that this helps the discussion, nor does it interest everyone, but I was at queue number 75 at 00.40am as they sold out! After 14.5 hours queuing! Gutted! It started at nearly 100000, and down to 75! (I realise I'm not alone!)
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Post by dan on Aug 4, 2016 11:15:41 GMT
As small as it was, I loved Andy's "fake laugh" that he used a lot. Such a great nuance.
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Post by dan on Aug 3, 2016 18:35:24 GMT
Re Song List; there's also a Megamix at the end!
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Post by dan on Aug 3, 2016 9:58:51 GMT
Perhaps, you could be right. I didn't necessarily think of it that way. To me it just seemed like it was the character of an actress singing about playing a character of Nancy and not simply the character of Nancy herself singing the song (if that makes sense?). Maybe it's because she sings in the third person a bit. Or perhaps it was the interval drinky-poo. Or perhaps it just went completely over my head because I was distracted by Andy Karl's arms and his lovely hair. Perhaps Tim Minchin likes to open Act 2 with something that catches people off guard and pull them back in, because Telly in Matilda isn't a typical Act 2 opener, addressing audience etc. I thought the song here was great. I'm never really convinced by this argument that you should be able to hum all of the songs after a show. For me they're important story beats or emotional story telling rather than an exercise in writing the most catchy tune.
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Post by dan on Aug 2, 2016 18:07:48 GMT
Hi! Does anyone know if ANDY KARL stagedoors after the show?? Seeing this on Saturday... SO EXCITED! I saw him having a couple of pictures with people at the stage door on Saturday as I was walking by. Love the show too. Songs are an incredible fit for the story and very poignant and funny. "Seeing You" (is that what it's called?!) is a perfect song for the moment it is placed. I definitely want to get to see it again. Staging was great. Cast were fantastic. Set was very creative. Some simple but effective illusions too. The development of the music and themes was extraordinary for telling this particular story.
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Post by dan on Aug 2, 2016 13:55:55 GMT
I was in a production of Sister Act last year and cannot for the life of me remember a line about "gay boys", when does it happen in the show? In the Fabulous Baby reprise/meltdown section, she speaks something along the lines of "Lights! Glamour! Gay Boys!". Changed from the original production (Lights! Glitter! Glamour!) and I'm also firmly in the camp of believing it to be totally unnecessary. I did the show at drama school and it was and remains one of my favourite musicals. Completely adored it in London and the score is one of my all-time favourites. However, I've no idea why some of the changes got through! The above being one which really stuck out, replacing How I Got The Calling is another, cutting Do The Sacred Mass which I thought was a fab song and some other random script changes, most notably a weird self-referencing line where Deloris claims that to hide from Curtis and go undercover, she's going to have to go "incognegro". Just don't understand why they tinkered with a show that was pretty great! I much preferred How I Got The Calling as a song. I did understand they didn't want the nuns to be "singing well" at that stage of the show, but I think audiences are sophisticated enough to understand they're not performing, they're just singing the story. It didn't confuse me when I saw it in London. I forgot they'd cut Sacred Mass. That scene just seemed really short and again lacking cohesion in this production. "Incognegro" was another line I personally didn't like. I absolutely loved this show in London.
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Post by dan on Aug 2, 2016 12:51:13 GMT
I don't want to judge before seeing her, but this has got me worried about the show now. I've booked to see it twice and just can't imagine how she can sing any of Molly's songs, particularly With You or Nothing Stops Another Day. She will be very exposed in With You. 🙈
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Post by dan on Aug 2, 2016 8:30:29 GMT
Was a particularly white audience too, which unfortunately is the case much of the time anyway. Now who is the one being racist...? I don't really understand how you consider that racist? Theatre audiences are predominately white and my point was how uncomfortable it can feel when a predominantly white audience laughs at an insensitive line referring to race.
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Post by dan on Aug 1, 2016 23:40:26 GMT
Alexandra was ok. A few funny moments. But even with the songs lowered she couldn't belt some of the big notes. Obviously not her fault but it is frustrating. She may need more time with cast as it felt like lots of people doing their own thing on stage and not together. She's got a good voice though and was very good in "Sister Act". I find her a little raspy which doesn't help with diction Thank you. How did you feel the actor musician element worked? Actually now you say that, that is something I quite liked. It didn't always work, but mostly it was good. A few clever uses of instruments and for the most part the band were great. I do hope you enjoy it! It does take something for me not to enjoy a show, I'm quite easily pleased with shows! Really though, enjoy yourself, it's just my experience.
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Post by dan on Aug 1, 2016 23:30:37 GMT
Is that when it was introduced? Makes sense as I didn't recall it from West End production. "Gay boys" followed my men in pink sequins acting camply is homophobic in my eyes. And to say "but you are nigro" because "we like that part of you" in contrast to her being dishonest about who she is just doesn't sit well with me. Don't like the sound of the second line, but the first part sounds pretty harmless to me,in the context of the show. Sure Craig Revel Horwood loves sequins! Did you really not like Alexandra in the role? Alexandra was ok. A few funny moments. But even with the songs lowered she couldn't belt some of the big notes. Obviously not her fault but it is frustrating. She may need more time with cast as it felt like lots of people doing their own thing on stage and not together. She's got a good voice though and was very good in "Sister Act". I find her a little raspy which doesn't help with diction
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Post by dan on Aug 1, 2016 23:28:07 GMT
Don't like the sound of the second line, but the first part sounds pretty harmless to me,in the context of the show. Did you really not like Alexandra in the role? The 'negro' line never bothered me as much. Although it's quite un-PC, it is in an affectionate/positive sense. It was added for Broadway. I would happily lose it though if some people do find it offensive (not that I have any control). In a way, I wish more was made of race throughout the show, so that line had much more impact. (I.e. some of the nuns having problems with her being black at the beginning, but then by the end they all love her.) Yes, the 'gay boys' line was also introduced for Broadway. It stood out like a sore thumb at the time (when I saw it in previews over there) and still does. It's the stereotyping for a cheap laugh that really irks me. It adds nothing. By the way, do they sing 'How I Got The Calling,' or 'It's Good To Be A Nun?' I prefer the lyrics of the first, but the tune and Broadway choreography of the second. It's good to be a nun! I preferred the original but understand why they didn't want the nuns to sing well straightaway! I have the same issue with the gay line, it was the laughter it invited just playing on a stereotype. There were very few people of colour in the show which for me made the "negro" line even more pronounced. Was a particularly white audience too, which unfortunately is the case much of the time anyway.
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