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Post by chernjam on Jun 11, 2023 3:47:34 GMT
I have written on here before about my history with this show. I saw the UK tour with David Essex when I was in my teens and absolutely hated it! The problem for me was the story - I just couldn’t get on with it. Everybody was just sleeping with each other, and I found it laughable. I remember saying at the time that “I don’t even think Michael Ball could save this show”. Skip ahead to me seeing today’s matinee at the Lyric, and it is perhaps my biggest surprise of the year so far - I simply ADORED it! Nothing has changed in the story, but I just don’t have the same issues with it that I had in my teens. The changes are mostly all for the better, and I like the symmetry that has now been created between the two acts, both starting with dressing room scenes. It may be that my tastes have changed in these intervening years, but I actually think the characters and story are emotionally quite complex. The reviews I think have been quite unfair. It helps that the production is so well-directed and cast. I loved the fluidity of the staging, and enjoyed the projections during scene changes. I remember that the UK tour kept using blackouts, which really stopped the momentum. This was a much better solution. The painted backdrops were occasionally breathtaking! As for the cast, Michael Ball is fabulous! He oozes charisma, and you can practically feel the star wattage every time he is on the stage. You cannot take your eyes off of him. “Love Changes Everything” makes perfect sense in its new context, and is particularly beautiful in the way it is delivered - not as a huge bombastic anthem, but as an intimate reflection on love. In the past, this song has stuck out for me as one of the weaker numbers in the score, but really fits here. Having seen him perform many times, it was a privilege to see him in this, and it felt really special. Laura Pitt-Pulford was also very impressive as Rose. She made me well up with tears twice - once after George’s funeral, and then again during “Anything But Lonely”, which was just emotionally raw. I still felt incredibly emotional during the curtain call. The other roles were good, with Danielle De Neise being another stand-out for me. Anna Unwin was a nice Jenny (and the likeness between her and the younger actress was incredible). Only Jamie Bogyo I found to be a little wooden. The score is a marvel and sounds glorious here. It often had that Lloyd Webber effect of sending shivers down the spine. I don’t mind the constant reprises - especially when the tunes are this good! In fact, how tunes are used as a tool for recall to earlier times/moments in the show is wonderful, and is therefore perhaps Lloyd Webber’s most complex. Add me to the chorus of voices who want a cast recording! Surely this must be on the cards? All this to say, I could have quite easily sat through this again a second time this evening. Forget the naysayers, and GO! Thanks for this review... I honestly only enjoyed "Love changes everything" within the context of the show/score. As a standout song perhaps it was overplayed and definitely was bombastic it got annoying to me. I do wish they kept the revisions to that which they made for the US Tour: "Love, Love changes everything, each beginning, each goodbye. Love, Love changes everything how you live and how you die." - know I'm being nit picky, but its the little things that really do make the difference. I'm really trying to make it to London this fall because I don't want to miss this (and Sunset) But seriously, it would be infuriating if they don't make a new recording especially with the new orchestrations. It's long past time for this score to get a new recording. |
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Post by chernjam on Jun 6, 2023 0:20:02 GMT
does anyone have any idea or word on whether they will be making a cast recording?
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Post by chernjam on May 31, 2023 4:05:39 GMT
Was planning on waiting for the show to ‘bed in’ -but with these reviews I’d better not hang about. Can I ask those who have seen it whether they use the solo or duet version of There Is More To Love? I had asked the same thing - either here or in BWW forums. The response I got was that its the single version. There is more to love is one of my favorite all time ALW's songs (especially underrated) I kind of prefered the duet version. |
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Post by chernjam on May 28, 2023 20:11:16 GMT
So I went to see this on Friday. It is my second favourite ALW score (after Starlight Express) and I have seen all the previous UK productions. Was so excited when was announced this was coming back to the West End. Basically I couldn't have been more pumped to see it or ready to love it. But I didn't love it. I really liked it. But it just didn't quite do it for me. Been trying to analyse quite why ever since and am not sure I can quite put my finger on it. Rambling thoughts follow in no particular order and including spoilers. It's mainly the negatives below but this is in the context that I did enjoy it and would probs give it 3.5 stars. But as it's a show I love so much, just why I'd not give it more. All very much IMHO and things I didn't like, perhaps others would. ! So appreciate the honest and thoughtful assessment from a fellow AOL fan  I'm really hoping for a cast recording to help decide whether to break the bank and plan the trip from the US to London to see this or not. I mean it's not likely we'll ever see a full blown production with a pretty full orchestra of Aspects again. I was happy when it was announced and suprised in this day of cancelling/PC run amok they were doing it (as borne out by some of the reviews "why revive such a troubled show that should have been forgotten...") It really is one of ALW's most beautiful scores that is underrated and forgotten, mostly because of the storyline, not to mention being sandwiched between Sunset and Phantom. And honestly, I do hope they preserve this on film as, like I mentioned, its unlikely to be revived again. For us fans, it would be nice to have it to go back to. BVM - curious about the cuts you referenced - were there specific sections from the original that were cut? I'm also curious about where is the placement of Love Changes Everything. Since it opened the show previously where did it end up now that George sings it and how does the show open? |
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Post by chernjam on May 26, 2023 17:50:22 GMT
To me, it's lazy on the part of some of the reviewers to just mock the storyline.
Just because things happen in a story doesn’t mean they are being condoned. That’s what makes this story to me somewhat tragic. The characters in their quest for love, end up jealous, envious, take advantage of one another, not to mention other “ick” factors. The fact that in the end, none of them has discovered true love I’ve always found to be a cautionary tale that sentiment and emotion are fleeting (“A memory of a happy moment”).
And whoever pointed out about Sweeney Todd (too lazy to scroll up) THANK YOU - and EXACTLY. Who said people needed to like the characters in the story? I don't think I'd want to spend much time with Norma Desmond, Joe Gillis or Max either...
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Post by chernjam on May 26, 2023 3:01:16 GMT
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Post by chernjam on May 26, 2023 0:29:43 GMT
Theatre weekly - 3 out of 5: "the sung through score is particularly beautiful; gentle with just enough power ballads to convince you there’s some form of romance to be found here. Obviously, there’s Michael Ball pulling out all the stops with ‘Love Changes Everything’ receives a rapturous welcome in the auditorium. John Mcfarlanes set blends modern with traditional, a sliding screen featuring video projections rather niftily takes us from one scene to the next, while the backdrops are formed of watercolour style landscapes (a nod to George’s love of art forgery) indicating whichever city this piece of the story is set in. The cast all make a good enough job of what they’ve got to work with, but it’s very clear that Michael Ball is the star of the show, not just with vocals but also the way each line is delivered with perfect timing, he clearly knows this show inside out. If love really does change everything, perhaps it should have started with the plot, which will baffle some new audience members, but those who remember the original will undoubtedly revel in seeing it return in a reworked and modernised production, with the return of Michael Ball to Aspects of Love being a wonderful full circle theatrical moment." theatreweekly.com/review-aspects-of-love-at-lyric-theatre/ |
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Post by chernjam on May 26, 2023 0:26:51 GMT
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Post by chernjam on May 26, 2023 0:17:37 GMT
Time Out gave it 3 out of 5 "why go to all this effort to revive it? The answer is fairly apparent: its elegant, string-driven, sung-through score is up there with Webber’s best, and includes ‘Love Changes Everything’ is possibly his most beloved song." www.timeout.com/london/theatre/aspects-of-love-1-review |
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Post by chernjam on May 25, 2023 0:51:53 GMT
I'm more and more excited with each drip of pictures, clips and reports...
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Post by chernjam on May 23, 2023 20:54:38 GMT
Thanks for sharing these, they really look incredible. It's shaping up to be a great revival |
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Post by chernjam on May 23, 2023 3:17:39 GMT
If it's "re-imagined" in any way, one thought that came to mind listening to Broadway Bob's "The Sunset Project" podcast where he interviewed one of the Max's (I think from the U.S. Tour) is seeing it as Max's story. If there's anyone pulling the strings in this marionette show its Max from Norma's delusions to helping suck Joe into this orbit. Just listening to the "Sunset Orchestral Suite" that ALW released last year where they finished it not with "With One Look" as the final musical motif reprised but "The Greatest Star of All" I thought how even musically that could be even more impactful. Definitely think there's something that could be done to make it divert a bit from the straight movie adaptation but without butchering it
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Post by chernjam on May 19, 2023 19:29:48 GMT
Well first off, kudos to all those who started the speculation on here. When I saw the "rumor" posting that had "rumor" mentioned 5 times in the first 5 sentences I really didn't think it was a real story. Happy to be proven wrong. Sunset remains one of my all time favorites/tied with Aspects. So now I'm thinking I might have to bite the bullet and come in the Fall for a 4 day stay to see both (and maybe Phantom just because) - not a bad way to spend my 50th birthday Anyway - the thing that gets me excited about this production - NS can sing. And if it has a full orchestra and its well sung, that is enough to make me happy. I saw a 70+ year old Glen Close with a 40 piece orchestra and practically no set 5 times and loved it each time. (Had zero interest in the actors play instruments interpretation) And I'm open to a new /fresh production. We have to remember, 30 years later the idea of "Silent films" is even more foreign to a modern audience. But the idea of being used and dismissed as a celebrity and the shattering it can do to a person is more relatable, even more so in a social-media obsessed world. So there's some universals here that could make this even more impactful for sure in the right hands. |
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Post by chernjam on May 19, 2023 1:39:13 GMT
I’d love my queen as Norma. Where are these... unorthodox lyrics for AIWNSG coming from? Those are from when Barbara Streisand butchered them for one of her out of retirement tours |
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Post by chernjam on May 16, 2023 20:22:57 GMT
I just think there are people who expect a completely different style of show. I'd struggle to call it light-hearted. In fact there’s only one song with any jokes (She’d Be Far Better Off With You). "You don't cheat at croquet" always killed me |
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Post by chernjam on May 15, 2023 2:53:54 GMT
Oh damn you guys... I had closed the browser before when it was over $1500 for a London trip this summer and Steve comes in with a second review that has me longing to go see this, much like when I was reading the ecstatic posts over Glenn Close in ENO - thinking "I saw her 3 times on Broadway, and the show 8 times on Broadway..." - which is what made me not make the leap back then. But when Sunset did come here as a revival I ended up seeing in 5 times in 4 months. Aspects has been so long forgotten and dismissed (or revived in such ridiculous minimalist fashion) that none of those reviews ever got me mildly excited as you both have tonight. A full-fledged revival of one of ALW's finest scores. Excuse me as I go look at savings accounts  |
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Post by chernjam on May 15, 2023 0:04:51 GMT
I was there last night and absolutely adored it. I have to say it’s a show that I’d never seen live and whenever I’d tried to listen to the cast recording, I could never really get into it (and it’s been YEARS since i listened to any of it). So essentially, this was like a brand new ALW show for me. And because of that, I can’t speak to any changes or anything that’s been made to this that (I think?) were done. But that score - man, I wish ALW would write something like that again, now. The set design was absolutely glorious, using gorgeous painted backdrops and the set pieces, while simple were perfect as well . I’m going back in a few days because I really have to see it again now. I thought everyone in the cast was just spot on, even Jamie. So good on him for giving a performance that (at least for me) makes me forget “Moulin Rouge”. Thanks for this Matt - now I'm looking on booking.com to see if I can make a quick trip to London in July just to see this. I can't tell you how much I love that score... Even the incidental scenes "Stop. Wait. Please" "A Memory of a Happy Moment" - those beautiful random motifs still pop into my head from time to time. Not to agree with Michael Ball (and I wonder if he slipped saying it in an interview) but it really was ALW at his peak |
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Post by chernjam on May 14, 2023 1:07:01 GMT
Not a new musical but I’m hearing that ALW wants a West End revival of Sunset Boulevard with a major star attached. Apparently everything is already set and ready to go. I'd love that - but I'm doubtful that's happening. |
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Post by chernjam on May 13, 2023 2:51:45 GMT
So awesome to hear a full orchestra playing this score |
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Post by chernjam on May 12, 2023 1:04:47 GMT
Interesting reading people's lists of Hits and Misses. Some of the confusion between the lists is that a hit like Aspects was in the West End was a miss in NY. The other difficulty is that he's compared against himself. He's got two of the longest running musicals in theatre history in Phantom and Cats, so anything that runs less than those is seen as "not as successful as ---" which other composers don't have to deal with. And lets remember he's also been actively writing for over 5 decades now. Lin Manuel Miranda (Hamilton) and Adam Guettel (Light in the Piazza) have had major successes but haven't written nearly as prolifically as ALW has been. (spare me the "maybe he shouldn't write so much" snarks. When you're a multi-millionaire as a result of your creativity, obviously the man is doing a lot more right than wrong)
As for the next musical - I'm curious about what subject he was interested in doing before Cinderella was announced that he was looking to secure the rights for. The story of Master and Margarita (long abandoned) has seemed intriguing too. I find his more serious topics bring out more interesting compositions, so that would be my vote.
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Post by chernjam on May 6, 2023 19:59:22 GMT
My only interest as an American and a Catholic Christian was to hear ALW's anthem, which I found quite beautiful. Particularly the live version in the Abbey with the Pipe Organ. ALW is a gifted composer.
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Post by chernjam on May 4, 2023 21:45:41 GMT
I don't have a problem with them trying to tighten up the story. Not to necessarily cave to keyboard warriors, but because the story always seemed to weigh down the score. Particularly the Jenny angle
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Post by chernjam on May 3, 2023 12:45:27 GMT
Honestly they've lost credibility and relevance at this point. I remember when Sunset revived a few years ago and it also received 0 nominations, which was ridiculous. I can see some of the snubs, but surely some of the performers/performances; set, lighting design deserved some recognition. And sorry/not sorry - I haven't seen the show, but still enjoy the score that ALW could've at least been acknowledged. I for one hope they do film it. If they did By Jeeves, why not? You’ve not seen the show but the Tony Awards have lost credibility? That seems like a well informed opinion… Didn't realize the snark factor had infected this board as badly as others... If you read the second sentence it helps explain the point of the first. That's usually how paragraphs work. I havent seen Bad Cinderella and wasn't saying it deserved a slew of nominations. But from what I've seen and heard, there were some obvious creatives involved that should have been recognized |
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Post by chernjam on May 2, 2023 18:01:34 GMT
Honestly they've lost credibility and relevance at this point. I remember when Sunset revived a few years ago and it also received 0 nominations, which was ridiculous. I can see some of the snubs, but surely some of the performers/performances; set, lighting design deserved some recognition. And sorry/not sorry - I haven't seen the show, but still enjoy the score that ALW could've at least been acknowledged.
I for one hope they do film it. If they did By Jeeves, why not?
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Post by chernjam on Mar 26, 2023 4:05:20 GMT
The critics were unnecessarily snarky and at times unprofessional.
That being said - it's sad that they don't seem to be completely wrong from the word of mouth.
As an ALW fan and sometimes defender, I've been more than willing to give the benefit of the doubt, and the music/score -there's plenty that I've enjoyed listening to Cinderella (Far too late has been in my head as has the Cinderella Waltz/I know you theme...) no other composer writes music that I find myself humming to myself for days on end.
My hesitation was always the subject matter. Not interested in a fairy tale - conventional or not... Add that people are talking through previews about it being over the top campy - definitely not for me.
I'm curious if as some of you mentioned, those London reviews really lulled them into thinking that sans COVID shutdowns, play up the campy/comedic parts that people would see it as simply a fun night out and not over think it. I mean reading the original reviews, no one was saying this was "the next Phantom" or anything. They just saw it as something comical that in my opinion, was undermined by the petulant cast. this cast definitely seems like they're having a good time and been supportive even with a couple of illnesses/injuries/etc. Linedy's appearance on TV singing Bad Cinderella this week seemed well done/well received (nothing like the train wreck of CHF West End Live)
Those seem to make the most sense why there was not thing substantive done to the show. When so many of you pointed that there was nothing that made sense about being home at midnight and the Godmother goes from suggesting plastic surgery to these weird costume techniques -none of that makes sense.
The silence from Emerald is deafening.
I'm just disappointed that this probably won't get recorded. The full orchestra in clips I've seen and heard sounds phenomenal. And they all seem to agree Sebastians "Only You" is amazing. Not paying those outrageous prices to check that out (nor venturing into NYC at the moment where the city has really gone downhill the last 3 years in terms of crime) Coming to London for my first visit to the UK to seem Aspects is more likely
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I'm really hoping for a cast recording to help decide whether to break the bank and plan the trip from the US to London to see this or not. I mean it's not likely we'll ever see a full blown production with a pretty full orchestra of Aspects again. I was happy when it was announced and suprised in this day of cancelling/PC run amok they were doing it (as borne out by some of the reviews "why revive such a troubled show that should have been forgotten...") It really is one of ALW's most beautiful scores that is underrated and forgotten, mostly because of the storyline, not to mention being sandwiched between Sunset and Phantom. 
