607 posts
|
Post by chernjam on Jan 5, 2020 6:51:26 GMT
So I've yet to go see this. Have to be honest, I rarely get to the movies anyway and Christmas holidays are a busy time. I was never a fan of the stage show - liking a lot of the music but not really caring about the dancing and need to have a story to get connected to. But I've been rooting for this just to continue the good-vibes ALW has had in the last 3-4 years here and crossing my fingers it would help greenlight Sunset and other projects.
The mauling it has taken in the U.S. and all really took my interests away from plunking down $15 and committing to a couple hours out. Will definitely see it when it comes on-demand or DVD released. Really bummed by this. A couple of thoughts:
- James Corden's an ass - saying he never saw the final product and commenting that he heard it's a disaster - way too back up the creative team... he couldn't desert this soon enough.
-I forget who one of the actors was pretty emphatic in defending it which was pretty admirable and what a group of artists should do... Look - art is a very subjective thing. And CGI is still a new "art form." We can all Monday-morning quarterback here and say what a misstep it was. Had it worked, Hooper would've been considered a genius, groundbreaking, etc. And who can blame them for trying. Cats is a known property with decades of popularity. Add an all star cast, it would've seemed critic proof. And the trailer reaction I seriously dismissed as just social media echo chamber. But in hindsight, it seems the first impression put people off.
- Marketing wise things seemed a mess. Perhaps it was because of there working up to the last second for the premiere - but they really let the critics have there first word on everything rather than really utilizing their cast to drum up enthusiasm. Especially once there were the delays costing them any possibility for consideration in the upcoming Awards.
- I downloaded the music the night it came out. The soundtrack does sound beautiful (although not having the journey to the heavyside layer? that was just weird) I too hoped that they were going to release a full version - which is probably the saving grace from this whole thing, but who knows now.
- All that being said, it does seem to be fairing better on your side of the pond. Even gross wise, they seem to be doing better business than here.
When they announced the film was going to be out this December in 2018, Never imagined this Christmas season would be such a difficult one for ALW. Really awkward that he's not been heard or seen from and that his team has given up trying to promote the movie themselves.
|
|
607 posts
|
Post by chernjam on Dec 23, 2019 2:41:26 GMT
I wonder what this will mean for the movie musical of Sunset Boulevard. Very different source material than Cats, and it's not necessarily the genre at fault here, but will Andrew Lloyd Webber/studios be reluctant to proceed? I was thinking the same, but Baz Bamigboye wrote this in his column on Friday: The next Andrew Lloyd Webber show to become a movie musical will be Sunset Boulevard.
The composer told me he’ll join Glenn Close, director Rob Ashford and studio chiefs at Paramount in February to plot their next move.
He said a screenwriter will be hired to add to the first draft by Tom MacRae, who wrote the story for Everybody’s Talking About Jamie.
Let's hope this whole debacle won't delay SB! Do you think they're planning CGI for Glenn  I agree... I was hoping Cats would do well just to get SB moving along (since back in February they were supposedly starting to film in October of this year) |
|
607 posts
|
Post by chernjam on Dec 20, 2019 6:23:52 GMT
haven't seen it yet - but I had pre-ordered and just listened to the highlights album. I don't know how it looks, but it sounds incredible. They probably should have released the album in advance to build up a bit more good press/buzz. I'm disappointed that it's not a full recording, but this is the first time I can ever remember listening to a recording of Cats from beginning to end. Swift's "Macavity" is perfect. And the in-movie version of "Beautiful Ghosts" sounds even more effective then the Swift version. Not usually a James Corden fan - but his Bustopher Jones was spot on.
The new orchestrations are spectacular. This definitely got me more excited to see this after way too many people seemed to be trying to out catty each other in their "reviews."
|
|
607 posts
|
Post by chernjam on Dec 19, 2019 14:29:13 GMT
I am no fan of Cats by any stretch of the imagination, in fact it is in my Top 3 worst musicals ever. But these reviews are just a very mean spirited pile on 6 months in the making. It reminds me of when Batman V Superman came out and people were just trying to out nasty each other with absurdities that didn't have anything to do with the film. Totally agree with you. It has always been "fashionable" to bash Cats. I read a couple of reviews saying "it's the show everyone rightly mocks." It's never been a favorite of mine, but I've respected it for being ground-breaking at the time... unconventional in every sense of the word, and ALW's music is as always (to me at least) fantastic. The knives have been getting sharpened since the first trailer dropped in the summer. I'm still not convinced it's going to tank as some gleeful predict. Which would be the ultimate vindication |
|
607 posts
|
Post by chernjam on Dec 17, 2019 15:12:34 GMT
And these initial reactions are pretty much how people reacted to the original stage production of Cats... they thought it was weird, somewhat confusing but were drawn into it and it became a juggernaut.
|
|
607 posts
|
Post by chernjam on Dec 17, 2019 5:09:37 GMT
Really disappointed as I thought it was coming to NY first...
|
|
607 posts
|
Post by chernjam on Dec 17, 2019 5:08:37 GMT
Having pre-ordered the soundtrack, was happy to have Jennifer Lewis' "Memory" released today and had a first listen.
Hudson had a rough job. It's a song that's been covered so much and been played to death for it to ever sound impressive or catch your attention. For me, most times when it comes up on a ALW compilation or elsewhere my impulse is to skip it.
But for me Hudson did it, Memory sounded so new and fresh... I'm looking forward to hearing - and yes, seeing - all of it
|
|
607 posts
|
Post by chernjam on Nov 24, 2019 4:14:34 GMT
I came on here after some of the US boards seemed to have more Cats on the forum then we will ever see on screen... but I guess it's a global phenomenon to just rag on something from a few trailers. As an ALW-fan who's never been a fan of the original production of Cats on Broadway, I've been impressed and actually looking forward to it. Thought "Beautiful Ghosts" sounded like a great addition to the score. As for the CGI - how is this any worse than the original costumes seen in productions that played around the world for decades? I mean they were actors fully decked out as Cats. The CGI looks just like an advanced, modern adaptation of that for film. I just don't get the vitriol.
Will make the prediction that I believe this will be a box office hit, despite naysayers on both sides of the Atlantic
|
|
607 posts
|
Post by chernjam on Nov 2, 2019 5:23:20 GMT
oh wow - I didn't hear this... absolutely loved her in Aspects... one of the most natural and effortless voices. May she rest in peace
|
|
607 posts
|
Post by chernjam on Sept 11, 2019 1:22:27 GMT
Went again on Saturday. Absolutely LOVE this production. Can't really praise it enough, it just makes perfect sense to me musically, plot wise, visually etc etc . I do get that as a 1st Evita might be hard to follow as there is not much context in terms of sets, eras and locations and of course Pauly is not made to LOOK like the traditional Evita. So yes, I confess I probably like it more as a result of having seen it so many times before. That said there are many musicals where I wish I'd read the plot in advance so I could have a clue what was going on - the much loved Hamilton being a prime example! Too early for predictions as to whether it will return and if it does to Open Air or Barbican? Much as I love it, I don't think it's had quite the universal love that Jesus Christ Superstar did..... Dom - didn't I read that it was the fastest selling show in Open-Air history? If so, I can't imagine them not bringing it back |
|
607 posts
|
Post by chernjam on Aug 31, 2019 0:02:59 GMT
The latest NY transfer rumor in today's NY Post - theatre space seems at a premium in NY. But if "Tootsie" ends up closing before the end of the year, Joseph is said to be arriving at the Marquis Theatre for the Spring.
|
|
607 posts
|
Post by chernjam on Aug 31, 2019 0:01:06 GMT
Just an update - NY Post is reporting today that ALW"s Cinderella is heading to Broadway not this Spring - but a year from now in the Fall. The delay, it seems, is because of Theatre shortages. Cinderella is slated to go into the Shubert theatre. Which will involve transferring "To Kill A Mockingbird" to another theatre. (They pointed out that Aaron Sorkin is the producer of Mockingbird and is producing with ALW for the first time ever on Cinderella... they snarked "...they're getting along, but some of us on the sidelines are waiting for Andrew to pull his score and Scott to throw his cellphone."
|
|
607 posts
|
Post by chernjam on Aug 30, 2019 3:51:58 GMT
I know better to judge a production then by a 30 second video clip... but damn, if I was in the UK there's no way I'd miss that... and now I'm pissed there's not a new recording. Want to hear new voices singing this classic score
|
|
607 posts
|
Post by chernjam on Aug 21, 2019 3:51:13 GMT
Rumour has it she wasn't impressed but was polite. But then again she didn't sound crazy about the Grandage production either. I was working at the Adelphi at the time and remember her being asked on the opening night what she thought of the 2006 production. She replied something like: 'It's very different. When I was in the original production I blah blah blah...' She went on and on about the original production and said hardly nothing about the new one. It was hilarious. Never got to see the interview when it was shown on TV, but I imagined they shortened it. It must be something with the original Evitas - LuPone is just as, shall we say, creative in giving faint praise while highlighting how great she was in the original and no one does it the same (or could anymore) blah blah blah… |
|
607 posts
|
Post by chernjam on Aug 20, 2019 3:07:04 GMT
I was listening to some of the score today, as i've not played it in years. It's a real mix of song styles and some work better than others, but some of it is very Jim Steinman. Tire Tracks and Broken Hearts is still a guilty pleasure. It's so bad i love it. Its funny how when the score first debuted (with the all-star "covers" album first) how many people speculated that Steinman wrote the music rather than ALW. Was surprised that the score never got the play over in the states that it did in the UK. I remember thinking if Backstreet Boys had recorded "No Matter What" rather than Boyzone, it probably would've been a hit here as well |
|
607 posts
|
Post by chernjam on Aug 19, 2019 21:57:30 GMT
Unfortunately, I doubt Jim Steinman will ever come to London again. He’s too ill, and couldn’t even make it over for Bat Out Of Hell. Had no idea that Steinman was ill... that's sad to hear |
|
607 posts
|
Post by chernjam on Aug 19, 2019 3:31:18 GMT
I wonder if ALW will give Whistle "The Other Palace" treatment. Get Jim Steinman in town, do some re-work and do a proper revival. The score really is one of his most under-appreciated ones and I think it's a fascinating story. It's hard to pull off - as it all hangs on that one moment when "the Man" says "Jesus Christ" - it has to be said in a way that's sarcastic but not too much - and the kids, especially Swallow have to be naïve but not too childish (or the whole swallow/Man relationship gets really disgusting). It's a tight rope. But the score is so good, it's worth another go. And the London production I believe made it's investment back.
Interesting - I remember reading an interview with ALW that he looks back and wishes he had continued with the Hal Prince version. Wished that he and Hal talked about it when they had their interview at the other palace
|
|
607 posts
|
Post by chernjam on Aug 13, 2019 1:08:14 GMT
I wonder if Joseph on Broadway was a placeholder for Sunset Boulevard hence why it only ran for six months, Joseph's grosses on Broadway were respectable for 1994: www.broadwayworld.com/grosses/JOSEPH-AND-THE-AMAZING-TECHNICOLOR-DREAMCOAT That production was the Los Angeles Cast with Michael Damian - who was a U.S. Soap Opera star. I believe he had a 6 month contract and Donny Osmond was starring in the Canadian Production. And yes, the Minskoff Theatre was promised for Sunset back in March of 1994 when they finally pulled the trigger and said Glen was coming to Broadway and not Patti. I'm hazy in recalling (and lazy in googling -) but I believe Edgar Dobie (sp?) was a spokesperson for RUG and made a point of explaining that no, Joseph was not a "flop" on Broadway. And they did have extensive renovations to the theatre for Sunset. Remember, they expected Sunset to be another Phantom that would be running for years and years, so the theatre owners wanted to seriously upgrade the place from it's 70's vibe (I'm remembering the seats being plastic, fold down and there was one massive seating section for the lower and mezzanine sections - not the customary 3 sections with 5 aisles) All of the seating was replaced throughout the theatre, there was a lot of work done on the stage itself. Had Sunset not come to that theatre, they might have tried re-casting Joseph especially with the Summer coming and tourists in the city, kids out of school, etc. While it's definitely more popular in the UK - it does get a lot of play in schools out here. I'd assume it would do good business with some good casting. Whoever pointed out that it might be a safe bet for an empty house is probably correct. I'm just not sure that this same production would fly. The shtick that people have described about Sheridan I can't imagine being well received (even if the NY Times did like it... reading his review, I really wondered if it was jet lag. He's not a huge ALW fan) But then again, what do I know? School of Rock was a Broadway hit and I never went to see it -primarily because of the whole "come see kids playing on broadway" campaign. At over $100 a ticket, no thanks. |
|
607 posts
|
Post by chernjam on Aug 12, 2019 3:23:57 GMT
I can't see this transferring to Broadway. 1 - they've already announced an anniversary concert for it in NY in February 2020 (https://www.theatermania.com/shows/new-york-city-theater/joseph-and-the-amazing-technicolor-dreamcoat_329839) 2 - ALW is going to be obsessing about his Cinderella opening here in the Spring - not sure he'd want to have another one of his productions opening (his first musical theatre score) to even be open to unfair critiques/comparisons. We've heard this before. Supposedly The Woman in White revival was returning to NY as well.
|
|
607 posts
|
Post by chernjam on Aug 9, 2019 15:22:19 GMT
Its really cool to read how ALW's works are being re-imagined by new creative teams that, as Dom pointed out, he has nothing to do with. I get that with original productions, it's important for them to work together. But for revivals, it's really interesting to see them have freedom to take things in a different direction.
|
|
607 posts
|
Post by chernjam on Aug 5, 2019 3:42:50 GMT
Re Grandage's production, I saw it at the Adelphi 5 times (and while I thought it was top-notch, it did admittedly seem lacklustre when Elena wasn't there) and having made a trip to Broadway to repeat the experience (saw the Grandage production twice there), I was really saddened by Elena's hostile reception on Broadway. It came down to a lot of things: nationalism (the amount of Americans who kept complaining they wanted 'one of their own' to take on the role was absurd; a different viewpoint on Evita (Eva and Perón are still thoroughly demonised in the States and regularly called 'fascists'/'dictators', which isn't strictly true); a preference to have their Evita as a diva-bitch à la LuPone; a preference to have Broadway-type voices; and too long a period of the transfer (Roger's performance in London was fiery and soulful; on Broadway it sometimes came across as mechanical and bored, and it didn't help that Ricky Martin's non-existent acting meant she had nothing to respond to, which then diminished her own performance). Part of the reason the Grandage production was more sympathetic is that Eva as portrayed in the original Broadway production (less so the original London production) was a caricature that never existed. There's a reason that production never played Argentina. The whole purpose of the Grandage production was to go down the authentic route; anyone who researches Eva Perón will find that the way she was portrayed in the American version of Prince's production was not accurate (even if it might have been thrilling for the chewing-the-scenery effect). It's a real shame they didn't tour Grandage's production in this country after the West End run; instead they used that criminal Kenwright production which should have died a death some time ago. In the absence of either Hal Prince's/Michael Grandage's production, we need a big epic production that serves this material well...but I fear Lloyd's won't be it. Scarpia - interesting take on Rogers in the US. I don't know if I'd agree with the characterization of Americans wanting one of our own to take the role. Maria Friedman was warmly received in The Woman in White... I remember people being excited about having an Argentinian who was so well received in London taking the role in NY (and as one who thinks LuPone is way overrated, was hoping Rogers would erase any memories of LuPone). But I think you're spot on regarding Martin being mis-cast and making it harder for Rogers. From what I heard of his performance, people felt he was simply playing to the crowds (many Martin fans came out in droves). I specifically went to see when he wasn't on and Che was played by Max Von Essen - who was phenomenal. Rogers was good - but she was struggling vocally... which was another criticism that dodged her in her NY run. I felt badly for her and the production as a whole. Because they hung their hopes on Martin to sell it, that really re-shifted whatever focus the original production had (and yes that delay between London and NY was wayyyy too long) |
|
607 posts
|
Post by chernjam on Aug 3, 2019 20:52:23 GMT
Yeah after the Elena Rogers debacle, I was hoping for a more "epic" Evita that blew people's minds the way JCS did... OK, Elena Roge r was *not* a debacle. She deservedly got rave reviews and an Olivier nomination for her superb performance on London (she'd probably have won the award had it not been for the very stiff competition that year). It's a shame it didn't translate to Broadway. (I saw the production on both sides of the pond; it paled on Broadway compared to the gorgeous production we were given at the Adelphi in 2006). REALLY disappointed to read about the reactions...because since Michael Grandage's production closed far too early, I've been craving a first-class Evita and was hoping - what with Jamie Lloyd being an excellent director and not some Laurence-Connor-type hack ( Dr Faustus aside) - that this would be it. It was insulting enough that Kenwright's cheap touring mess got two outings in the West End to fill dark theatres. I'll be going the night after press night...with my fingers crossed. After hearing all the hype from London, I too was excited for the Broadway production. With Ricky Martin hamming it up (after reading about Sheridan in Joseph, it seems similar... he was constantly winking and playing for laughs from the audience) and Elena not being nearly the powerhouse in terms of singing that she was said to have been in London - the whole thing felt flat to me. It was still thrilling to hear that score live on a Broadway stage, but having seen various re-productions of the Prince version over the years, including my college who did a stellar -almost Broadway caliber production - that NY revival really didn't seem memorable. At least not in a positive way. I'm hopeful after reading Dom's review and will be curious as the previews unfold and opening night comes what the consensus will be - Hit or miss. Also, will be curious to hear if the performances are strong enough vocally to warrant a new recording |
|
607 posts
|
Post by chernjam on Aug 3, 2019 16:10:27 GMT
Dom - thanks for your review (and the spoiler tag with all those extra details). The thing I loved about ALW-TR collaboration (aside from Joseph) is that JCS and Evita both are incredibly classic musical scores. Even those who don't consider themselves ALW fans usually will admit to liking these two. Rice's lyrics are often so sarcastic that leaves room for interpretation and different expression that is part of the brilliance. It's why JCS as a theatre production has always struggled to be financially successful and viable on stage (at least here in the U.S.) Evita, you had Hal Prince who was able to get into the spirit of it and come up with a production that successfully walked that tight rope of Eva as Saint/Bitch.
The recent revival seemed to have leaned more on the "saint" side. Eva became more of a tragic character. Not being Argentinian myself, I found myself much less moved and left the theatre thinking "so what" as Ricky Martin and Elena Rogers took their bows together. It was a great set and lighting design; the new orchestrations were fantastic. But aside from that, what makes Evita compelling is trying to figure out is this a tragic story or a musical bio-pic (which the Madonna movie also seemed to be)
I'm intrigued and totally agree with you that removing these properties from ALW/TR and their influences and allowing new sets of eyes to play with them is something I'd like to see more of. I appreciate where they might come from and would worry about a complete bastardization of their work. But to allow some creatives with a good reputation and credibility to bring a new take on it, I'd love to see more of. Sorry I can't get over to UK to check this out... but can't wait to read more of all your takes
|
|
607 posts
|
Post by chernjam on Aug 3, 2019 1:18:17 GMT
Yeah after the Elena Rogers debacle, I was hoping for a more "epic" Evita that blew people's minds the way JCS did...
|
|
607 posts
|
Post by chernjam on Jul 28, 2019 18:12:08 GMT
Watched it on you tube and wasn’t keen but then saw trailer on the big screen at odeon .... and it all seemed to make sense really liked it Also saw it on the big screen screen and lots around me were saying they wanted to see it. Certainly didn't look as bad as I had expected from this thread. Dislaimer: it is by far my least favourite musical) This has been my hunch from the get-go. The fact that there was this "negative reaction" is not going to deter anyone from going to see it - if anything, it raised people's attention to the fact that this is coming out. Most people aren't on theatre boards parsing and critiquing every aspect of every thing (like we like to do) so they might have not even known Cats was being made into a film - saw the preview with the cast and thought "oh that's interesting". And the vast majority of people who went to see Cats on Broadway, on the West End or around the world for decades don't care that some theatre snobs think it's "the worst musical". It's far from my favorite ALW musical - I don't remember the last time I even listened to the recording, but will most definitely be there when it opens. And I'm betting, so will a lot of other people. Will it topple Star Wars? No. Will it make back it's money and then some? I'm sure that it will |
|
