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Post by chernjam on Apr 1, 2019 5:52:08 GMT
Dom - I agree with you that ALW/RUG is pretty bizarre when it comes to show anniversaries. They ignored Sunset's 25th last year... Aspects 25th (and now 30th). You would think they would try to maximize and utilize free publicity. But then again - I can't understand a lot with ALW and RUG. We never got a new recording of The Woman in White from last year or the last Cats revivals - but I won't be shocked if there's yet another new revival recording for Joseph this year.
As to what's going on with Starlight/no news - my guess is with Joseph revival, CATS movie, Sunset movie now semi-confirmed (at least a director is named) and his ongoing work with a "new Cinderella" ALW's plate is overflowing (oh and "Unmasked is finally having it's American premiere this fall) It does seem weird they would've workshopped a revised version without any long term plans, but who knows? There were rumors that he workshopped a revised Stephen Ward as well
(Man, what I'd pay for a video/audio of any of those things)
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Post by chernjam on Feb 16, 2019 1:22:58 GMT
I'm sure I'm in the minority here... As I've shared, Aspects of Love was the first musical I saw on Broadway - so it opened Theatre and ALW for me. So I have the entire score memorized as I've listened to it from beginning to end countless times. Even the melody of "Stop. Wait. Please" floats in my head from time to time - so it's kind of hard reading so many dismissing the score, save Anything But Lonely. Which makes me think that the stripping of the orchestrations was a terrible mistake. If you can find the Royal Philharmonic suites of Aspects, Joseph and Cats - I think you'll hear how strong the melodies from the score actually are - and when they are performed with a full orchestra, it is quite moving. I will agree that 1 - the story/plot is difficult to navigate. It was when it premiered and I would imagine audiences today would have even more varied and extreme reactions 2 - of all the songs, "Love Changes Everything" which was quite beautiful when it was first premiered has been destroyed by the pop and cover versions I've heard (most notably Michael Ball's pop version) so the fact that it gets repeated does take away somewhat from the score (Btw - did the revised lyrics to that stay in this production from "Hands and Faces /Earth and sky to Each Beginning / Each Goodbye"? Just curious) That being said, for those who just saw this for the first time, I'd recommend picking up the Original London Cast Recording and give it a second listen. It's sad that it's been so woefully under-recorded, and so there are so many changes to the score not reflected (most notably, Ann Crumb's triumphant finale to Anything But Lonely, which I do have recorded, but isn't on the original). "There is More to Love" remains one of my all time favorite ALW songs... I think it worked better as a duet between Rose and Giulietta - vocally and story wise. And now I have "A memory of a happy moment" floating in my head  |
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Post by chernjam on Feb 8, 2019 0:07:04 GMT
It needs more instruments - a couple of pianos is not enough. Staging was OK, but see this for the two female leads. They are what makes it worth a visit (not the blokes though!) Ive said that if I win the powerball lotto (over $250 million) I'd produce a proper Broadway production, probably at a small house like the Hudson Theatre - but with a decent sized orchestra. Hearing the boot of the Mernier production and then reading about this two piano one just makes me sad |
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Post by chernjam on Feb 7, 2019 5:22:11 GMT
Hey Steve - so where's our ALW expert's review |
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Post by chernjam on Feb 3, 2019 3:45:16 GMT
I’m seeing this on Monday night, but must admit to not looking forward to it very much. I love the show, but I’ve seen a version of Aspects before that was piano only, and it sounded so monotonous. Why did they decide to do this production that way? You only need a small handful of musicians to produce something so much better. Will be looking forward to your review Steve... I really want a professional, fully staged, "chamber opera" of this (meaning at least a few instruments). It sounds like the recent revival in Australia was more like that - which seemed successful (they extended the run). The day something like that comes to the West End, will be on the next flight. |
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Post by chernjam on Feb 2, 2019 16:34:03 GMT
Hey everyone... just catching up on the London run of Aspects here. I was excited when I first read somewhere that "Aspects of Love returning to London for it's 30th Anniversary" and thought about flying from NY just to see it, since it was the first musical I ever saw and still is one of my favorite scores.
When it sounded like an even smaller production (or at least orchestra) than The Woman in White I decided against that type of expense.
I get it, the original production was much maligned as too opulent. The fact that it ran 3 years in London is probably more about ALW's name on it at the time and just the general state of things in theatre back then. The fact that it was a flop in NY probably underlined the difficulties with the story and the audience being unable to really connect or care with the characters. Something that I would tend to believe is even more the case now than in 1990.
That being said, the score remains a favorite. Was upset to hear There is More to Love was reverted back to a solo. The duet, as someone mentioned, was ravishing (fortunately on broadway, I saw it with the two originals and the cast recording pales in comparison to the bootleg of it)
Curious about two things 1 - Did ALW attend the premiere or comment about this production anywhere? and 2 - 5 years ago some Opera company in UK said they were doing the "new definitive version" that ALW himself revised of Aspects that supposedly incorporated extensive changes... is that what this is?
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Post by chernjam on Dec 1, 2018 4:38:54 GMT
does anyone know if there will be added instruments? I'm thinking of making my first trip to the UK just to see this. I'm a little disappointed that it's not a full orchestra/production. I loved the US tour and am a little turned off by it seemingly staged in a dinner theatre type set up
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Post by chernjam on Jul 30, 2018 3:28:25 GMT
Mixed feelings after seeing the matinee today (love a Sunday matinee). My concerns about it looking or sounding cheap after early feedback here on the forum were unfounded. And all of the performances were great, Felix Mosse was very very good. I don’t think ‘George’ has been mentioned yet and I thought he was excellent. The band were also excellent, and I soon forgot that there were just three of them. It didn’t sound mean, or inadequate and I can totally see how the choice to do it this way was totally in keeping with the way this show was presented. A big shout out to the sound design too, every single word was crystal clear. But the actual show.... good grief, which of this motley bunch of sexual narcissist are we supposed to be sympathising with? I found the first half to be tedious and thin on plot (self absorbed actressy type flips between two men from the same family). Act two was more interesting dramatically but still totally predictable, the minute I saw the kid take her hair out of bunches I thought “uh-oh... we know where this is going”. The set was atmospheric and beautifully lit but I’ve seen variations of this design several times at the HM now. I totally understand the limitations of the space but I think it’s time to surprise us. I was also disappointed that the train scene had nothing, not a smidge, not a moving light or a sound effect to suggest a train. I might not have cared if there hadn’t been a train in the artwork. Seeing is believing, right? Im going to check out the original cast recording because much of the music was beautiful and so typically ALW that I want to hear it played, as it was originally designed to be played, by an orchestra. Burly - you're hitting on many of the issues that has existed from when Aspects first premiered. It's hard to feel sympathetic with any of these characters. And for those of us who are a bit more traditional in our views of sexual relationships - seeing Rose go from Alex to George, to Giulietta, back to George - and then Alex getting even by going after Jenny and ultimately ending up with Giulietta and Rose being alone (even though she triumphantly sings shes Anything but Lonely) does make it difficult for an audience to connect to  Seriously though, as I've gotten older, even the title "Aspects of Love" doesn't ring true. Aspects of obsession; Aspects of manipulation; Aspects of selfishness... So story wise, it's hard to find the core message or philosophical point. I say all of that still standing by my earlier post about how it's one of my all time favorites. The music in this enthralled me from a young age. It's one of ALW's scores that I can throw the disc in the player and listen from beginning to end not looking to fast forward anything. Even the little motifs "A Memory of a Happy Moment" - "Stop Wait Please" even the incidental music of Rose catching Alex up on George at the start of Act II "What a life...you're telling me? What does Jenny make of all of this? Ask her yourself" - those musical quotes have been flowing through my head since I found this post the other day. |
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Post by chernjam on Jul 28, 2018 3:27:17 GMT
Aspects of Love was one of the first musicals I ever saw - and the first ALW musical I ever saw on Broadway. For the longest time it was tied with Sunset for me as being my favorite (Sunset now has an edge since I've been able to see it 15 times and Aspects once on Broadway and once in the Robin Philips N American Tour)
Anyway - I've been frustrated at how little it's been revived here in the States or elsewhere for that matter. The reviews for the last Trevor Nunn revival weren't enough to inspire me to hop a flight to UK to see it.
I'm curious though - a few years ago I had read that ALW had worked on a "definitive" version that was to clear up changes to score and such that had crept in from production to production - is this new production following that script? I'm always curious to hear what types of revisions ALW subsequently makes to his scores - and Aspects is truly one of his most underrated (There is More to Love is still one of my all time favorites -and Ann Crumb blew the roof off the Broadhurst Theatre when she sang Anything But Lonely) Thanks for any info
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Post by chernjam on Apr 9, 2018 6:14:00 GMT
Are these dates in April the last for the UK tour?
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Post by chernjam on Feb 25, 2018 23:12:57 GMT
So I have been in Leicester, Birmingham, Manchester and Bristol. Was full in Leicester, but has been probably only 50% full in the other venues, and this was on a Saturday night. I love Sunset, is definitely in my top 10 all time musicals. But sadly can't deny that this tour has not sold as well as I would have hoped, which means as a name in it's own right, it is just not that popular. Agree that Joe Public doesn't really go for sung through musicals (personally I love them - for me they are perfect!) but also maybe this just doesn't have mass appeal in this day and age. Was very much the last of the sung through mega musicals of the 80s and 90s. And maybe just didn't break into the all time classic status of Cats and Saigon which tour very successfully. A shame as I do wonder if it will be a very long time (if ever) that we see a tour of Sunset again! Likewise doubt there will ever be a fully staged London revival. Though guess somewhere fringe might have a crack... If the musical ever gets its long rumored film adaptation with Close, I would think that would raise the "Sunset" property. Right now its definitely a bit dated to this generation of theatre goers who rarely watch old movies, would not even know there was a time where there were silent films - so the story remains a bit distant for them. A movie-musical (well, a successful movie musical) could change that and make a future revival viable that people want to see and experience that in the theatre again. Must admit though, as much as it stinks because it is such a phenomenal score that is one of my all time favorites - it does need a star in the lead as Norma to really work. A friend of mine who's not a huge theatregoer went with his wife a year ago to see Sunset with Glenn at my recommendation. He knew nothing of the story or the score, so it was interesting getting his impressions on everything. One thing that blew him away was the reaction that Glenn received the first time she is spotted descending the stair case and that he had never experienced something like that in the theatre before. There's something about that moment, that they need to get caught up in the Hollywood star of the actress for it to work. In fact, that's always been the case. That's why the film worked because Gloria Swanson was playing the lead... |
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Post by chernjam on Feb 11, 2018 20:45:24 GMT
Does the tour end in April?
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Post by chernjam on Feb 11, 2018 17:47:04 GMT
Guess no one here went to the last night? So I was there last night (funnily enough was also at the last night of the Palace production whenever that was (mid noughties?)) Second visit - as other's have said previously really, excellent production and it does work well as an intimate chamber piece. Cast great. Marion cracked a couple of times in All For Laura - otherwise her vocal was perfect. This happened last time as well so I now think it's directed as such since she is crying and distraught. Was full last night. Having been half empty last time, I do wonder if this run made any money. Also makes me think it will be a very very long time before we see this show again. One last thing - the theatre is the second worst in London, other than the Arts. Always freezing or boiling. Carpet is absolutely filthy. Toilets smell and yesterday had no soap. Awful! Dom - it was in the early 2000's! I believe the original production closed in early 2006 Its a shame - and somewhat surprising - that it didn't have a better run... with near universal raves for the cast, and it being a small theatre, I would've expected it to have gotten some traction. Interestingly Forbes magazine had done an article when the WIW revival opened that perhaps this was going to return to NY. Perhaps London is experiencing what we did here the year Hamilton opened, where that basically took all the air out of the room for nearly everything else. That and the fact that people felt the theatre itself was a dump probably didn't help matters. Just surprised that ALW didn't want it recorded. Particularly since the only recording is of the first night of the original production and they've done enough work on it to revise it, if there was any hope of this having a life outside this production, you'd think they'd want that preserved. But I honestly don't understand any of how this business operates. |
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Post by chernjam on Feb 11, 2018 6:15:00 GMT
Guess no one here went to the last night?
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Post by chernjam on Feb 4, 2018 3:24:34 GMT
I'm seriously bummed that they're not making a cast recording of this. I've enjoyed the score and would love to hear what has been raves about this cast
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Post by chernjam on Jan 28, 2018 21:34:18 GMT
Really can't believe they've felt the need to up the prices at the top end. I got £37.50 Grand Circle in the first booking period and same price front row stalls in the second booking period. Speaking of which, saw the show on Thursday evening. Full cast apart from Marsha as Peggy/Maria. I think I had an out-of-body experience. I literally just couldn't believe I was watching Hamilton, it exceeded all of my ridiculously high expectations. Listening to the OBCR for 2 years is one thing, but seeing the show live is just something else and the more I think about it, the better it gets. There is such little spectacle to this show in the way of set and costumes and the like, so it's really the material that makes or breaks it and my GOD the material is just spectacular. There were many similarities in the cast from listening to the OBCR but actually, overall, I think I prefer this cast in London, because there were also many, many differences. And the differences never felt like they were there for the sake of being different to the OBC, but that they'd developed completely naturally. Giles' Burr is really something to behold, but what struck me most was actually how much more human Giles played him in contrast to the 'villainy' that comes across in Leslie's portrayal on the cast recording. For me, Jamael was both a better actor and nicer to listen to than Lin, and what a natural he is. And so tall! He towered above literally everyone. I could go on forever and ever, but others that made the most impact on me were Mulligan/Madison, George Washington, Lafayette/Jefferson and Rachel John as Angelica who has the smoothest, silkiest voice EVER and of course Mike Jibson as KGIII who milked every single second for what it was worth - and we loved it. Audience was an interesting one! Obviously absolutely packed to the rafters, lots of range age-wise and I'd hazard that there were also lots of people who don't necessarily go to the theatre much, which is of course fantastic. Lots of super-fans in, yes, but also very respectful. Couldn't hear any singing along but there was entrance applause for many of the characters. Hamilton and King George are the two that spring to mind. Obviously they weren't applauding the actor - as around 80% of the audience wouldn't know who they were - but they were applauding the actual character. Made for a brilliant atmosphere! Applause for the "immigrants" line and Jefferson's "why I even bring the thunder" exit but other than that, you could hear a pin-drop in the silent moments, nothing in the middle of Yorktown (which is one of the most incredible musical theatre numbers I have ever seen live), an entire audience absolutely engrossed. Anyway, a truly astonishing piece of theatre. Fantastic sound design - could hear every word. Front row is close, yes, and the stage is high, can't see any feet or the revolve and the lighting effects, but totally worth it for what felt like a truly intimate performance. And I don't mind especially as I already have another ticket booked for March up in the Grand Circle so will get to see it all as a whole! Theatremadness - I think you summed up my experience seeing Hamilton this past Wednesday in NYC. Unlike you, I didn't have the OBCR and had only heard or seen a few clips here and there. But it really was astonishing in ever aspect your described. I went in completely neutral (in fact I was concerned I wouldn't like it since my brother had spent a fortune on these tix for my Mom and I) but left incredibly blown away. Been curiously reading your reaction on the other side of the pond since it is such an American story - that, yeah there are universal themes in it - but I wondered if it would translate to other international audiences. Obviously it has. Brilliant. BTW - do any in the UK feel insulted by the King George scenes? Just curious |
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Post by chernjam on Jan 27, 2018 5:17:13 GMT
Forgive me for asking this if it's already been asked. I'm in the US - and went to see Hamilton Wednesday afternoon (It was a Birthday & Christmas gift for probably the next 5 years from my brother). Had kind of checked out of all the Hamilton hype and had no major intentions to see it because of the hype - and only heard a few clips of the show which I wasn't overly impressed with.
Anyway - since Wednesday I've been insanely obsessed with the show. Absolutely loved it and was blown away by how much I was moved by the most tender moments (I never imagined I'd be crying watching Hamilton)
My question - have you heard if they're intending to make a cast recording of the London cast? This might be really anathema but I find Miranda's voice on the recoding annoying
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Post by chernjam on Jan 24, 2018 3:58:56 GMT
Not much to say. The cast are better than the original, the staging is better than the original, the music is still as boring. Steve - any major changes to the score that you noticed? I thought I had read they were writing some new material. Also, musically, how does the show conclude? |
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Post by chernjam on Jan 23, 2018 15:54:57 GMT
anything else Steve???
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Post by chernjam on Jan 6, 2018 4:46:43 GMT
Hey - other WIW fans. If you're interested in a new cast recording - tweet @womaninwhiteuk and @officialalw. Some of the cast members seem to believe that the more the producers hear and see their is an interest from fans, the more the topic will be brought up and discussed. I for one would love to hear this cast which has been pretty much praised across the board, and hear what changed ALW made
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Post by chernjam on Dec 30, 2017 7:29:00 GMT
oh so no West End revival...
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Post by chernjam on Dec 28, 2017 6:04:38 GMT
If I remember correctly, this year would be the 50th anniversary of the first performance of Joseph and the Amazing Technicolor Dreamcoat. Wasn't there discussions of a special revival of this?
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Post by chernjam on Dec 28, 2017 1:28:11 GMT
Musically can someone tell me how the revival ends? Between the boots I've heard, the 2 times I saw the original on broadway and then the London recording - they're all different
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Post by chernjam on Dec 17, 2017 17:25:31 GMT
zsazsa I thought they had pulled those dates earlier and then were rescheduling them, particularly since Danny now committed to returning with Sunset after his commitments in January/February
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Post by chernjam on Dec 11, 2017 19:09:48 GMT
Anyone heard if there's plans on a cast recording?
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Seriously though, as I've gotten older, even the title "Aspects of Love" doesn't ring true. Aspects of obsession; Aspects of manipulation; Aspects of selfishness... So story wise, it's hard to find the core message or philosophical point. 
