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Post by ali973 on Jan 8, 2018 5:06:58 GMT
I just saw a video of an understudy Evan (not sure which one, I believe there are at least two) and it took me a while to get into it. For starters he just seemed too fit, healthy and had a somewhat of an athletic face and build to be believable.
Though Ben is no 17 year old, he does have an innocence and a baby face, and that helps in a role like this. Noah Galvin is in fact the most believable physically, but I've yet to hear raves about his acting.
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Post by ali973 on Jan 7, 2018 14:49:21 GMT
Come on, work with me 2018..
1-No cast announcement for Chess yet 2-No cast announcement for the titular character of The Cher Show - The Cher Musical 3-Tickets haven't gone on sale for the pre-Broadway Moulin Rouge 4-No cast recording for Everybody's Talking About Jamie 5-Grinning Man has a calendar up until April but no tickets have gone on sale
..must I go on?
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Post by ali973 on Jan 7, 2018 14:46:22 GMT
I think all will be forgiven if and when Frozen has an ice castle forming during Let It Go. Currently they just have snowflakes forming over the Swarovski curtain that they've borrowed from Dreamgirls.
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Post by ali973 on Jan 6, 2018 17:38:15 GMT
It could just be a soundboard recording for archival purposes.
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Post by ali973 on Jan 6, 2018 11:47:25 GMT
What is MTAS?
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Post by ali973 on Jan 5, 2018 20:20:14 GMT
Interesting you posted this - I was listening to it today as well. TBH I would have been just happy with her overlaying her vocals as Hedwig over the existing instrumental tracks and having a new cast recording. I haven't warmed up to this version yet.
But yes, it would be good if London would get the revival version as was said a few years ago.
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Post by ali973 on Jan 5, 2018 11:53:02 GMT
I'm sure this is already in the planning stage. Though you are correct in saying that all the existing productions in the US have an education-linked program, many of these kicked off a few months into the run. Now that the London production has officially opened and that madness is over, I am sure there are new programs and initiatives in the pipeline that will be visible in the new year.
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Post by ali973 on Jan 4, 2018 9:51:33 GMT
I was just being snarky and alluding to the silly rumors that Hugh Jackman is a gay man. She was married to a gay man in Brokeback Mountain.
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Post by ali973 on Jan 4, 2018 7:44:33 GMT
"Never Enough..Never Enouughhh". Never enough are the unnecessary key changes and octave progressions in this song, and the other overproduced pop trash numbers.
It's not not entertaining, but as my friend whispered to me when the circus burns down, "they better wrap it up with a happy ending in the next fifteen minutes with a big show stopper."
I with a full review blurb, so here are a few observations:
*The choreography and dancing are fabulous. *The jump of Barnum and Charity from childhood to adulthood is hilarious. Are they supposed to be in their 20s or 40s? If 20s, they both looked too old for the young love display. If 40s, what were doing once they finished their education? *This is Michelle Williams' second role as the g supportive housewife married to philandering gay man. *I thought Rebecca Ferguson was Wellemijn Verkaik. *The Jenny Lind plot was laughable. When did they fall in love, why did they fall in love, and how deep was this love for her to be such a big bitch, and why did she disappear so suddenly, and if Charity was convinced he cheated, why did she forgive him just like that? All of this was nonsense, but we went with it. *Hugh Jackman is #daddygoals and Zak Efron is very pretty. *This seems ripe for the stage, but I'd dial up the critic's role as Barnum's nemesis and give him more musical material.
It's all nonsense, but it was entertaining and visually captivating.
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Post by ali973 on Jan 3, 2018 10:43:49 GMT
DESERVING Harry Potter Follies Hamilton Everybody's Talking About Jamie (deserves more?)
OVERHYPED Dear Evan Hansen Ria Jones/Sunset Blvd tour Come From Away Marisha Wallace in Dreamgirls
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Post by ali973 on Jan 2, 2018 4:36:07 GMT
I think Spongebob could get scenic and costume design nominations, but I don't see them getting cast nominations. Ethan Slater is a powerhouse, but not sure he will get the most prestigious award for theatre excellence? Maybe Gavin Lee for Best Supporting Actor.
I think Band's Visit has the best bet for Best Score, Book, Best Musical, Best Actress and Best Supporting Actor (Ariel Stachel). Tony Shalhoub is great but he sort of doesn't sing, so it'll be weird for him to win Best Actor in a Musical with no musical contribution.
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Post by ali973 on Jan 1, 2018 18:45:51 GMT
I'm so happy this is getting traction by people on the forum. It's fab, and as emicardiff points out, the music is fantastic, the characters are wonderful, and I think the creative team gets serious browny points for diversity done right.
I hope they chug out a cast recording soon.
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Mame
Dec 31, 2017 17:00:36 GMT
Post by ali973 on Dec 31, 2017 17:00:36 GMT
Funny you mentioned Juliet Prowse, I was just listening to an audio of her as Mame in a regional production in the US at the Pasadena Playhouse. Julia McKenzie did a BBC concert, and she sounds fabulous.
I'd rather see a real star tackle this. Might be a good vehicle for Catherine Zeta Jones.
It will require some serious revisions if they'd do it again. The confederate references are jarring.
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Post by ali973 on Dec 30, 2017 14:19:10 GMT
I'm a fan of ALW and his music. I like Petula Clark every now and then. Sunset happens to be my all time favorite musical. hulmeman and gra sound like the same person.
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Post by ali973 on Dec 30, 2017 11:37:29 GMT
ALW has done dumbas*sh*t over and over again, so I'm not sure that holds.
Having said that, you're entitled to like/love her all you want.
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Post by ali973 on Dec 30, 2017 10:24:20 GMT
I didn't dislike her too much - and I know that the popular opinion is not in her favor. I saw her in London and in the US tour. She wasn't great, but not unwatchable (I'm looking at you, Ria Jones). Her Sunset EP single is actually pretty nice and beautifully sung (despite the much lowered keys).
Having sad that, this BBC concert should have been either Elaine Paige or Betty Buckley with John Barrowman or Alexander Hanson.
Oh, well. Bootlegs and soundboard recordings will have to do.
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Post by ali973 on Dec 30, 2017 9:55:48 GMT
jeez..and I thought I was much planning 6 months in advance Theatre wise, if you go in 2019 I say do NOT get the ball rolling now. The Broadway scene has a much faster turnover than the West End. Come 2019 I'm sure there will be a slew of new and exciting shows (also depends on when in 2019 you will go).
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Post by ali973 on Dec 28, 2017 18:56:04 GMT
No way, he's got the classic leading man look and far too physically developed and athletic for this.
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Post by ali973 on Dec 28, 2017 10:59:12 GMT
That Lion King metaphor you used was really really..funny.
I get what you're saying, but I still don't agree with you. And clearly comparing Disneyfied Africa with dancers dressed in masks singing songs by Elton John (in a London accent) based on one of the most popular animated movies is not quite the same as small-town, suburban, pill-popping America.
The West End hasn't been a space that attracts emotional rollercoaster musicals lately. Maybe I'm not expressing myself succinctly - but there's something about it that does not seem to be like a good fit.
We can argue until the cows come home but the fact is that besides the rumors that have been invented out of nowhere, I've yet to see any indication that this is happening, as much as even them saying "we are in talks". I know for a fact that the producers won't make a single move before opening the show domestically in the States for a tour.
I also think that there needs to be a major show that closes down IF this was to ever come. I don't see a West End with Kinky Boots, Dreamgirls, Tina, Ballroom, Hamilton, Bat Out Of Hell AND Dear Evan Hansen competing. Though they made differ (Kinky vs Bat Out Hell are vastly different), there's a lot of overlap and they are all vying for the same audience.
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Post by ali973 on Dec 27, 2017 23:56:13 GMT
I also think besides a marketing game and "tricking" people into believing that it's sold - there's a mathematical formula they've developed whereby they have a better advance and more volume sold this way instead of scattered sales throughout the run. They need to be able to guarantee a solid advance if they were to float and keep shows alive. I completely understand the rationale behind releasing a certain batch from the ticket inventory before everything is released. There's a difference between them showing shows as "sold out" vs these tickets not being available in the first place.
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Post by ali973 on Dec 27, 2017 23:05:34 GMT
I hardly head to the movies over here but I think I might give this a whirl soon along with Coco. For the record - I gave La La Land a miss and still haven't seen it. I generally can't really get into movie musicals..
But I already have a problem or two with this, even before seeing it, and this is coming from a person who normally reserves judgement until seeing something.
I sampled the soundtrack, and as suspected from Pasek & Paul, the music is relentless, generic and sounds like an Apple commercial. And this is coming from a person who isn't necessarily a musical or music classicist and I enjoy an everyday pop song.
Also, Barnum was a true jerk to his wife and exploited human "oddities" for a profit, but in this filmed honored and rebranded as a champion for individuality...Kind of tasteless.
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Post by ali973 on Dec 27, 2017 22:43:06 GMT
I disagree that DEH is niche or can only work in the fringe or somewhere like the Young Vic. If we can have shows like Everybody's Talking About Jamie come to the West End from Sheffield then DEH has a chance of coming over. Besides the blue background and a title with the character...there's really nothing these two shows have in common. Everything about Everything About Jamie makes a case for it to come to London. It's a British show about British people by British people that did well regionally. DEH..isn't and its suburban setting makes it a tough sell to a big public. And before we start comparing it to Hamilton on the grounds of them being both American and let's look at where Hamilton is..let's not.
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Post by ali973 on Dec 27, 2017 18:17:18 GMT
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Post by ali973 on Dec 27, 2017 18:10:13 GMT
I think it can serve as a decent tagline ("from the writers of ...") if everything else is in the right place, but I don't think you can sell a show alone based on the work of a young team that is still virtually unknown.
Is there even a single quote by the original team that indicates there has been talk of a London production? Given how it still did not even announce dates, let alone open, in major American markets, I'd wait this out for a long time if it were to happen.
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Post by ali973 on Dec 27, 2017 17:40:44 GMT
I dunno guys..that off the cuff remark on WhatsOnStage holds no weight as far as I'm concerned.
I'd find it a very tough sell to make this show crossover and do well.
There were so many other big shows that were either rumored or had a topic that could have been a lot more viable for London: Hedwig, Gentleman's Guide to Love and Murder, for example. Even when In the Heights, came it was an independent production in a fringe venue and not a major production based on the original (at that point it was even available for amateurs everywhere). Fun Home took forever and only coming in as a limited run in a niche venue. So just because a show is a smash success in the US, it doesn't make it viable for London.
Sorry, I just can't imagine this in London at all.
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