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Post by chernjam on Apr 24, 2016 21:15:25 GMT
Didm't realise the record still stands. However that production still managed to lose money and it wasn't even produced by ENO, but the more inept Really Useful Company. I think the record has only recently been broken, and by Hamilton no less, which hit $80million recently. The record is Advance by Opening Night - not after it opens. Hamilton right now has an $80 million advance. Kind of surprised with all the hype before its broadway opening that it didn't break Sunset, but from what I've found, it hasn't. And yes - it still lost money on broadway. More the fault (and arrogance) of RUG at that time. There was so many ridiculous extravagant expenses that the weekly break even point was something like $650,000-$700,000 (and it's sell-out/max gross was something like $850,000). True, at the opening they thought it was going to be another Phantom... and it returned about 90% of it's $15 million capitalization (at the closing, they promised the investors would receive their full return with licensing of the show, merchandise, etc. but not sure that ever happened) But it was mismanagement that made it a "failure"
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Post by chernjam on Apr 24, 2016 15:44:37 GMT
Thanks to whoever shared this link: www.telegraph.co.uk/theatre/actors/the-triumph-of-ria-jones-illustrates-the-panic-and-joy-of-the-un/ if for nothing else, than the video of the beginning of the Bows for Ria... Love the orchestral "As If We Never Said Goodbye" they play for Norma, so it was neat to hear again. It's amazing to think how Sunset is forever drama on and off stage like no other show even 20 years later! Now it will enter it's last week, with everyone wondering has Glen recovered or not - how will she sound - etc. And should she return tomorrow night, whatever remaining tickets this week will probably sell out. Exactly what happened when Glenn took a 2 week (announced) vacation, RUG tried to cook the books to show that there was no dip in ticket sales, it got out in the press - was front page story for a week -- last 3-4 months of Close's run (through the Tony Awards) was sold out (after it already had the largest single advance ticket sales in Bway history - a record $37.5 million which still stands) After all this, I reall think ALW needs to grovel, beg, bribe - do whatever he has to - to get Patti to do Sunset at Radio City Music Hall in NY for a month with NY Symphonic Orchestra or Metropolitan Opera Orchestra. People would go freaking nuts
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Post by chernjam on Apr 23, 2016 6:05:55 GMT
I'm in Rome this week so just catching up on all of this. The curse of Sunset Blvd with off stage drama continues, huh?
Have to admit - not surprised... And goes back to my initial point this was short sighted. Imagine another (somewhat) younger actress who's never played this starring in the role. Could have not only renewed interest in themisical but broken this myth that only Glen is the ultimate Norma.
When Karen Mason took me get for Glennin NY it was a revelation. The music had a much deeper impact than I had experi need before...to this day it saddens me there's not one great full cast recording (perhaps they'll let Ria do the recording with the ENO orchestra? Pipe dream I know)
Real quick. Was Patti actually there this week?
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Post by chernjam on Apr 16, 2016 2:38:33 GMT
I've stalked this thread from the beginning. Through the early excitement, the doubts about her singing, the early great reviews on here, a few dissenters and then the amazing reviews. I saw it tonight from the back of the upper circle. Nothing prepared me to be as amazed and thrilled as I was. Everything about it is spot on. GC's "weaker" singing seems to fit the action perfectly. When she needs to stun, she sets it to 11!! I had already booked a further visit from side stalls next week. I've broken the bank and booked a further visit, frontrow centre stalls for the following week. Events like this come along so rarely. I'm making the most of it, while I can. Have to admit - it's been nice reading all these reviews. Although I was definitely a doubter about Close 20 years later. I will add though, it's too bad you guys didn't get to see this with the original sets. The score, the story, the cast - those are essential - but the original set made it even more breathtaking. When Norma descended the stairs (as the mansion "flew" in) after saying "You There, why are you so late" - have goosebumps just remembering it
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Post by chernjam on Apr 10, 2016 1:15:47 GMT
I love Sunset - and just hearing that it opened with this fanfare, and advance ticket sales is great news... but I am a bit saddened that it HAD to be with Glenn Close. At this point it's almost completely solidifying a type-casting that's going to be hard to break. There's news that they want to bring her back to NY (so I guess the workshop that took place with Donna Murphy is going nowhere) and film the movie with her - it's sad to me that this show is going to be more remembered as "Glenn Close's Sunset Blvd" rather than Andrew LLoyd Webber's (especially since it's one of his best scores)
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Post by chernjam on Apr 7, 2016 23:28:04 GMT
The logo is the same. It's the background that has multiple versions. This is the "original" orange version. Let me summarize 1-Original London cast (Patti LuPone and Kevin Anderson): Orange 2-LA Cast (Glenn Close and Alan Campbell): Actually started off with orange logo and palm trees. Then the grey version followed. 3-OBC (Glenn Close and Alan Campbell) Grey 4-London new cast (Betty Buckley and John Barrowman): Grey but with a silhouette of Norma holding the gun 5-London cast with Elaine Paige, John Barrowman then Alexander Hanson: Grey background no silhouette 6-Broadway with Betty Buckley and Alan Campbell: Grey no silhouette 7-Broadway with Elaine Paige and London with Petula Clark, Alexander Hanson and Graham Bickley: red 8-Australia: Red 9-Germany: Grey with silhouette 10-Canada: Orange with palm trees 11-First US tour: Red Of course these were the "official"incarnations. Some of them used a similar background but with each Norma superimposed over the logo. Just a 3a/4 - When Sunset was opening on Broadway, they had the gun silhouette originally (for when ticket sales opened) and then by the opening went simply grey Love that you're as versed in this as I am Ali
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Post by chernjam on Apr 7, 2016 18:50:26 GMT
Here's another slightly silly question. Any reason they screwed up the show logo for ENO? I mean the original, the American premiere version grey or the later red version all seem better than the new one or is that just me?
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Post by chernjam on Apr 7, 2016 13:26:12 GMT
I enjoyed this but far from "wowed" and so I suppose a little disappointed - my expectations were clearly too high! I didn't like the staging. All those stairs and platforms - one of those multi purpose sets that could have staged virtually any musical - Evita (we had a balcony), JCS, Oliver, West Side Story to name a few. How I missed the John Napier sets - especially the mansion. A cluster of chandeliers flown in and out simply did not cut it. Very cruel of the director/designer to make Glenn Close (at the age of 69) climb all those stairs again and again, night after night and twice on Wed and Sats!! She must be exausted. I did fear for her tripping especially in those long gowns. The show sounded wonderful, however, with the full orchestra and a company who could sing. I loved Siobhan Dillon as Betty - a fabulous singing voice and lovely actress. Fred Johanson as Max had a great voice. Michael Xavier was in fine voice too as Joe Gillis and he has a huge role as the show is seen through his eyes and is rarely off stage. Although gloriously sung I felt he was too nice, and didn't have the darker edge of a gigalo - his cruel outburst at Betty towards the end of Act 2 (although well deliverd) seemed to come from nowhere at all. So I felt this central performance lacking sadly. Of course the show is all about Glenn Close. She is undoubtedly a star and acts the hell out of the role. She would have chewed up the scenery if there had been any!! Her costumes were fabulous especially the ballgown for New Years Eve. But how I longed to hear the role sung. She delivers the two big numbers especially at the end of "With One Look" which guarantees an ovation but for the rest she seemed only comfortable in the middle register and her voice was "thin" and breathy. The audience went wild though - a full and prolonged standing ovation at the end. A few empty seats in the stalls - I was in the side stalls for £105 and glad I did not pay another £50 for centre stalls. Two people next to me did not come back after the interval! Perhaps they did not like sitting next to me? I did have a wander up to the Upper Circle in the inteval and the view from up there is fine - if a little distant but well worth £57.50 or less. I wish I had paid that and not splashed out. Delighted I have seen it but will not be booking a return visit as I thought I would. EDIT - On checking the ENO website there is lots of availability at all prices for this (apart from the last night). Not a "house full" by any means. I suppose the prices are steep for a "semi-staged" show. Thats strange, NY media is talking about how tickets were already selling well before it opened and now was an "impossible ticket" with talks to bring it to NY: nypost.com/2016/04/05/this-andrew-lloyd-webber-musical-is-finally-getting-some-love/ I have to admit, the thought of them transferring this production to NY seems the excitement of the moment - I mean the ENO has what, 3,000 seats? And theres speculation even with a almost-sell out if it's making money for them with the 50 piece orchestra. I don't know where they would stage that here. And part of the excitement in London is seeing Close in the role - we had her for close to a year in what I think has been an unfairly dismissed spectacular production. (Yes the score, and story are fantastic, but Napier's sets were amazing)
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Post by chernjam on Apr 6, 2016 19:25:30 GMT
Thanks for everyone's feedback and reports of the show. For Steve10086 - its nice for us who were fans way back and when it first opened (which is how you and I "met" in the infancy of the internet) to see the show having a "return" of it's own. This is how it has to play - lots of intrigue both on and off the stage. I'd love to see Meryl Streep have a go or some other Hollywood Actress - but I guess ALW learned what happens when you diss a Norma (ie LuPone and her voodoo doll of him ) Keep looking online for any clips of the "corrected" overture (thanks for the description of it... It's hard to imagine tampering with that at all - it's such a legendary opening sound...)
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Post by chernjam on Apr 5, 2016 20:45:53 GMT
Just catching up on the latest posts - a few quick questions: 1 - What was Ria Jones doing at the Q & A (and yeah, that must've been cool seeing the first workshop Norma singing that) 2 - What change did ALW make to the overture? I can't even imagine it being changed. 3 - Any SB addicts pick out any other changes so far?
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Post by chernjam on Apr 5, 2016 15:00:04 GMT
I'm really curious about this "young norma" re-appearing in this production. One reviewer was describing it and talked about it as being another example of ALW's fascination with "Ghost stories" (WIW, Phantom, Aspects all having these elements) that in a sense, Sunset also has the ghost of Norma's past there. Interesting idea and would bring a different dimension to the show rather than scoring and staging the film (as some reviewers complained was all they did with the original go-round)
If anything, I'm glad that this production put to bed the Watermill-pared-down version. If I remember, that got some good reviews and I could never imagine Sunset being done on a dinky stage with the actors playing instruments. This needs to be done big and it shouldn't apologize for it
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Post by chernjam on Apr 5, 2016 0:59:04 GMT
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Post by chernjam on Apr 5, 2016 0:58:11 GMT
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Post by chernjam on Apr 5, 2016 0:52:31 GMT
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Post by chernjam on Apr 5, 2016 0:46:02 GMT
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Post by chernjam on Apr 4, 2016 3:36:35 GMT
Just curious - does anyone know if there's plans to record this? If not for Glenn, would love to hear the score with that orchestra and the other cast members (Particualrly curious how people seem to like Too Much In Love to Care... That's always been a bit of a low point for me, except the US tour version when it ended softly with Joe and Betty singing the last notes in harmony...)
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Post by chernjam on Apr 3, 2016 4:27:04 GMT
Have to admit, reading the reviews on here, reminds me of when I saw Glenn on Broadway 22 years ago. From the large lines hoping for a ticket cancellation (making the Wicked Lotto look tame in comparison) to the thunderous ovation as she first descended that massive staircase... it really was a surreal theatrical experience unlike anything I've ever seen before. It really seemed to be the convergence of all the right things coming together - legendary story; a actress who's reputation was stellar; an amazing score (plus a year of hype, gossip and backstage drama that could be it's own show) it just spilled out in such a unique way.
I suppose my reservations about Close's aging/thin voice are lost in the live experience, which was true then. I mean, I can't say I wasn't mesmerized the two times I saw her. Absolutely was. And as a gifted actress who really feels like she owns this role, I can imagine she is able to utilize her deficiencies in such a way to maximize her portrayal of Norma.
Happy for all of you to experience that type of theatre.
The only things that does sadden me though is 1 - I doubt if they make a recording of this it will translate the same (barely listen to the American Premiere Recording) and 2 - this might cement the narrative that this role can only really being successfully staged by Close (kind of like Carol Channing in Hello Dolly) which would be unfortunate. Seeing some other amazing actresses with amazing voices (Betty Buckley) really adds a whole different element (and much more enjoyable to listen to later)
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Post by chernjam on Apr 2, 2016 2:12:13 GMT
Sunset Boulevard has been one of my all time favorites of ALW (tied up there with Aspects of Love, if anyone cares ) Really curious - Hampton and Black were said to have been "reworking" or "rewriting" things. Has anyone spotted any differences or changes? Also people referring to "Young Norma" is that just the final scene where they show a reel of her in a film?
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Post by chernjam on Jan 23, 2016 16:59:51 GMT
It's going to be fascinating to see how they "Semi-stage" this now that they're using the original costumes.
Steve10086 - do you remember that when Sunsets were sunsetting all over the globe the report that RUG was storing at least one set? I think the NY Times had said that. Don't know how possible it would be to re-use it or anything - but for those of us who saw the original, it's going to be hard to see thisrevival with the costumes, that full orchestra (unlike having the actors playing the instruments) and even the same Norma without Napier's sets
As for a film - I think it was Christopher Hampton who said it in a recent interview that Paramount was interested in a movie version. I also thought I read that Black and Hampton were working on some revisions to the book/script. That has me curious.
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Post by chernjam on Jan 22, 2016 22:45:51 GMT
I'd be ready to hop a flight to London to see Ria... that's exciting that the woman who first sang "With One Look" in its earliest incarnation might get a chance to perform the show in front of an audience
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Post by chernjam on Jan 22, 2016 22:42:38 GMT
Thanks guys... no doubt this was frustrating - it always is when these types of things happen. But it can be the start of something new and better
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