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Post by chernjam on Dec 8, 2017 1:17:12 GMT
Saw this today at a well-attended mid-week matinee and thoroughly enjoyed it. I also liked the original back in '04 but this production was infinitely more involving. It made me realize that the main problem with the Trevor Nunn take was not the projections which, despite inducing motion sickness in the audience, were quite effective at times. The main problem was the characterization of Count Fosco as a bloated human cartoon in a fat suit. Fosco is in every way the most interesting character in the show - already a problem because he is in fact peripheral to the main action - but to make him a grotesque is to amplify the issue. In the Nunn production he was a show unto himself, not a guy who slotted seamlessly into the prevailing melodrama. Issues still remain with him in this new production but at least he is presented - and wonderfully played by Greg Castiglioni - as a human being who, though still occupying a tangential role in the plot, is nevertheless a member of the cast and not some freakish outlier. His two very good songs now fit into the show's context and not as stand alone diversions. As noted above the book of the show has been trimmed and well trimmed - no time for ennui. The show has a decent plot and that plot has been streamlined. It works well - kudos once again to Thom Southerland and his crew. And it as been cast well, strong actors with strong voices across the board. I happen to think that this is one of ALW's premier scores and it sounds amazing in David Cullen's elegantly reduced orchestrations. But I still have issues with David Zippel's too-clever-by-half lyics. His pointed, ostentatious rhymes, which worked so well in a shows like City of Angels and The Goodbye Girl, are misplaced and jarring here. They don't go with ALW's lush melodies nor with the overall atmosphere of the piece. They're always calling attention to themselves, which in this case is a bad thing. Still, my admiration for this show has been underlined and increased by this production. Well done to all involved. I really appreciate reading this... As was the case with Aspects of Love, I think the problem was Trevor Nunn. Can only hope that we get to see this over here in the states |
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Post by chernjam on Dec 5, 2017 14:29:04 GMT
Can anyone give a bit more detail about the changes to the score? I'm curious since it was reported that ALW and Zippel had been working on and off again on this over the last decade what major changes were done to it (and even more, would that be enough to encourage a new recording with this cast that has universally been praised)
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Post by chernjam on Dec 1, 2017 5:43:51 GMT
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Post by chernjam on Dec 1, 2017 5:37:27 GMT
To me the real stand out song was "Trying not to notice" - by far one of my all time favorite ALW's (much more so than I believe my heart)
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Post by chernjam on Nov 29, 2017 3:32:16 GMT
Well I saw this tonight after hating it at The Palace years ago. I always said this and Stephen Ward were ALW’s weakest shows and made jokes about them both. That said, give a proper set (not computer windows graphics), strip the story back, get better performers, remove the rats and fat suit and you can actually see a good show with stand out songs and a clear narrative, book and story. Despite the songs being repetitive, too much recitative (speak singing), some naff melodies and music that doesn’t always fit the time period of the piece (I believe my heart) this new production at the Charing Cross Theatre was enjoyable with better singing and solid acting from everyone than the West End original. The direction was focused, staging worked brilliantly and so many problems of the original show ironed out. So glad I saw it, and even came out humming various tunes. Glad the effort was made to restage this misunderstood musical - that I for one always frowned upon! I even though the train effect, smoke and lighting worked rather well for the space. have to laugh that you have a mouse as your avatar after you're glad they lost their jobs in TWIW. Really happy to read that you've turned around on this... I always enjoyed the score (and enjoyed the Original Broadway production) but felt there still was a lot of work to do on it Hopefully this gives it a second life. |
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Post by chernjam on Nov 28, 2017 6:34:34 GMT
Theo and Not - thanks for the details... could you explain the change to the ending in a spoiler section. I saw the original broadway production twice and enjoyed it a great deal - but doubt I will make it to UK to see this (as it doesn't sound like it will extend or transfer) I am happy to hear they cut Lammastide as I hated it and bringing back If not for me for her sounds like a good move. Any substantial lyric changes or other music changes? Kind of hoped they'd record this, but that doesn't seem likely these days
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Post by chernjam on Nov 22, 2017 23:38:54 GMT
Thanks for posting the new promo - it looks fantastic ... would really love to see the Perfect Year - that looked beautiful
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Post by chernjam on Nov 21, 2017 4:01:45 GMT
ali - can you give us any ideas of the changes to score/storyline?
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Post by chernjam on Nov 20, 2017 21:34:36 GMT
Break a leg tonight as TWIW starts previews... can't wait to read reports
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Post by chernjam on Nov 18, 2017 5:57:17 GMT
Might be worth splitting this thread into an Aspects and Spring one? Anyway, Aspects of Love - probably by favourite ALW musical after Starlight Express (strange but true). The score is gorgeous. Lucky enough to have seen all 4 versions. Agree the Gale Edwards version is probably the best. Visually looked great, had some fantastic casts and the characters were the most likeable than in any version I thought. The original I think was underrated. A lot of these more intimate shows get criticised for the originals being overblown. An element of this is true. But Bjornson's set was quite extraordinary. The way it kept folding out to reveal scene after scene I thought was breathtaking. Saw Ball and Susannah Fellows, shortly after Ann Crumb was injured. Both excellent. One of my biggest regrets never seeing Sarah Brightman in it. The Nikolai Foster version I also enjoyed. Though the David Essex show aspect of it was irritating. Though his name was selling out venues - that age old problem - guess it's better to have him in it so that Aspects can be financially viable than for it not to happen at all. At least it wasn't Pellow lol. And he was ok in fact. Was the middle aged screaming that was irritating and the fact he had top billing, and I think final bow. Matt Rawle made Alex quite unlikeable I thought. The Menier version was ok - thought could have been better. ANYWAY a roundabout way of saying I'm thrilled to hear it's being done again and I will be going to Manchesterford. Despite unreserved seating which I hate lol! Aspects of Love was the very first Broadway musical I ever saw ( the very FIRST) and instantly made me an ALW fan. My folks had insisted I needed to "broaden my horizons" and we went to see a Broadway show of my choosing from the TKTS booth - and I had seen a commercial for Aspects and heard a clip of "Love changes everything" and thought - it sounds nice. Had zero idea anything else about the show. Thought it was odd that the other big show by the same composer was across the street (Phantom) and you couldn't get tickets for that for months... To be young again Anyway - I remember when the first act ended I couldn't believe a full hour and 15 minutes had flown by. The music, the performances (Ann Crumb is so underappreciated and no one has equaled her Rose in my book, especially not Brightman - but honestly I just don't like her voice) When the set broke open to become a mountain, I remember just being blown away. A few years later, the Robin Phillips version toured the US after a successful run in Canada. (I think Gale Edwards production was similar) - it was simply these white curtains, a few props and lighting - and it was even more beautiful, more nuanced. The story telling, the performances were spectacular. Drove 4 hours one way just to see it. And regretted I couldn't stay for the evening performance. I remember my girlfriend at the time being overwhelmed and moved to tears long after the performance. I'm really curious - will this be a full production (full orchestra, sets, etc) or is this a smaller regional theatre? And how close is it to London? If I fly in from the US to see this is it worth the trip? |
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Post by chernjam on Nov 17, 2017 16:33:02 GMT
Was able to find a few Youtube clips of the UK tour after seeing the Evans one last night (am I the only one who when they click one of these posts to see what someone else shares ends up on youtube for at least another hour watching other Sunset clips?)
Anyway - it looks like the curve production is really unique. It's cool to see another staging and from the small clip I saw, Ria sounds phenomenal. Curious though, when it ends is there anything on the screens like there was in the ENO produciton?
(As for Evans, she has a tremendous voice, but that whole small production/actors playing instruments thing to me doesn't work with this... I know ALW heaped praise on it when it opened, but the fact that the follow up had a 50 piece orchestra says it all)
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Post by chernjam on Nov 10, 2017 4:35:40 GMT
I have to say the video and those images really got me excited. I hope that this does well and evolves into an open-ended run
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Post by chernjam on Nov 6, 2017 5:57:15 GMT
When I saw it there were groups of Glenn's fans who would applaud her every move from her entrance to applauding before the song was over and I do not mean just the ending. So in my opinion I think all these Glenn fans were MASSIVE fans of hers before seeing her in Sunset. And would love her whatever. The Hollywood star etc. I'm really not a film person and had have never seen her in anything. Had she been an unknown who landed the role in Sunset, IMHO, the 'amazing' acting would have been considerably less noticed; compared to the fact that someone had been cast in a musical who couldn't sing! Fair enough in the LA recording she hits the notes (which she didn't when I saw her at the Coliseum) but there is nothing pleasant about the quality of her voice. For me anyway. Horses for courses and all that though. (On another matter, she is WAY too old. Not an issue 2 miles away in the Coliseum balcony but a huge issue ready for her close up on film. Norma is meant to in her 50s and still very sexually attractive). I'd consider myself a Sunset fan first and foremost. Eagerly anticipated this ALW work (had just gotten into theatre and was excited to see the prospect of a new ALW blockbuster and was intrigued by the story and all even though I knew very little about it) so I followed every tidbit of info about the show as it readied for the World Premiere. Bought Streisands back to broadway on June 29, 1994 (the original date of the World Premiere that got pushed up because of technical issues) just to hear the two songs. And saw the original broadway production 8 times with each Norma (and understudy Karen Mason) - the US tour 3 times and the recent revival 4 times I say all that because when I heard Close was doing the ENO and then coming back to Broadway with it I was really disappointed. I remembered how much I liked it originally on Broadway but then when I saw Buckley sing it effortlessly was thinking "oh wow, that's how it's supposed to be sung." I couldn't imagine 20 + years improving that at all - and didn't want a show and score I loved so much to become "GLENN CLOSE'S SUNSET BOULEVARD" rather than the Andrew Lloyd Webber Musical Sunset Boulevard - which it seemed to be moving with this revival. But I was happily proven wrong. For me, she nailed this in a way I don't think she was able to in 1994. The production with Lonny Price's very creative and fresh approach; that symphonic orchestra - and then the lady who with one look indeed broke my heart. I agree, there were moments that I worried "Oh shoot I hope she can hit that note" but it only added to the magic that is live theatre (and she happily hit every note, each of the 4 times I saw her in the Spring... including one time when she was fighting that cold). I'm still in withdrawls since Sunset closed. To the point that I'm considering my first ever trip to the UK just to see the revival on its stop to London. But for me, I will be thrilled if they film Sunset - and soon - just to preserve what was an amazing performance |
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Post by chernjam on Oct 29, 2017 5:57:55 GMT
Kind of curious about something... why are they selling the World Premiere Recording at the Sunset tour? Particularly since there were so many changes to the score that are reflected in the American Premiere Recording Not sure. Though it was remastered and rereleased at a later date then the LA version. (Adelphi Sunset, New 1992 Starlight Express, The Beautiful Game and the Sarah Brightman version of Song and Dance were remastered and released together at a later date than the rest of the ALW cannon). For what it's worth, despite not including the revisions, I much prefer it. I am firmly camp LuPone/Anderson though. Also, don't forget, Joe Public won't care. So they're probs just selling what they have stock of! Dom - the World Premiere Recording will always hold a special place in my heart. I will never forget the absolute excitement when I discovered the double CD pack in an import CD store (remember when those places existed... before Amazon took over the world  ) and it was a reasonable $39 (as opposed to in NY where it sold for over $100) a full three months before it was due to be released here in the states. Anyway... that was my first listen to the score and I fell in love with it. And I enjoyed their performances (and still think in all the Sunset fiasco, Anderson was the biggest casualty of all. I much prefered his voice to Campbell) All that being said, the American Premiere Recording was a much better production to me. And as some mentioned - it was amazing what a rush job the World Premiere Recording got. I still can't figure out if they actually used recordings from Sydmonton workshop or what. But when I heard the APR I was amazed by the lushness of the sound. You guys all made good points about the stock of CD's available which I'm just remembering... in NY during the recent revival, they originally didn't have copies of the APR. It was only later in the run that they had produced more - and those were limited as well. (At the time there was hope they would record the revival cast with the orchestra) So perhaps that's really the reason - clearing out stock... with hopes that if they make a movie, there will surely be a new recording |
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Post by chernjam on Oct 28, 2017 2:35:12 GMT
Kind of curious about something... why are they selling the World Premiere Recording at the Sunset tour? Particularly since there were so many changes to the score that are reflected in the American Premiere Recording
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Post by chernjam on Oct 24, 2017 6:47:21 GMT
remark - you're making me think about coming to the UK for the first time to see this
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Post by chernjam on Oct 24, 2017 2:54:40 GMT
Just purchased Ria Jones covers of Sunset (and Evita) from Jay Records - (didnt realize they released this long awaited album on Oct 6) - she sounds fantastic. Happy she's finally having her turn at playing Norma
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Post by chernjam on Oct 17, 2017 2:45:49 GMT
In Newcastle it was just CDs (the remastered London cast recording - £15), magnets (£6) and mugs (can't remember the price). The mug and magnet have the new branding on. No brochures, just the house programme. They're selling the remastered London with LuPone? That's really surprising |
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Post by chernjam on Oct 14, 2017 15:48:24 GMT
I've been excited to read how well the tour has been received. Sunset is one of my all time favorites, so seeing it having successful re-incarnations makes me hopeful that if they ever do the film with Glenn, perhaps that will spur interest in a full fledged, open-ended revival - especially now that some other directors have had stabs at it and shown how it can be done without the glorious production that we had the first time (I miss Napier's sets, but...)
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Post by chernjam on Oct 1, 2017 19:58:57 GMT
It has elements of diva worship which we flock towards, but I think it's up to the actress and director not to make Norma a joke or a clown. She's disturbed, unstable and have gone through trauma which is why she's so damaged. Yes, and you often hear laughter during the final scene. Back at the start, when I’d never seen the story before in any form, Patti LuPone had me in tears at the end. Norma is very over the top, but there is a very vulnerable woman under all the “campness”. Spot on Steve - It's why Elaine Paige never worked for me as Norma - she was over the top, "cartoonish" (as one critic observed) made the whole thing way over the top. In the original production, Betty Buckley seemed to have been able to balance this the most and gave a moving portrayal of Norma Glenn in the recent revival seems to have nailed it though. She played a very vulnerable woman who seems bewildered wondering how the only world where she was truly alive could now have forgotten her - a truth she was working hard to ignore or deny... and when it finally was revealed, she completely loses it. It's a real tight wire that these actresses are on to make this work and it's amazing how different it can go |
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Post by chernjam on Sept 29, 2017 3:32:34 GMT
question for those who've seen the tour - did the note change that ALW made for ENO and broadway revival to the Overture stay for this tour? I know this must sound like a weird, nerdy question - but was shocked at the effect that one change had for me
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Post by chernjam on Sept 29, 2017 3:28:02 GMT
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Post by chernjam on Sept 29, 2017 3:25:59 GMT
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Post by chernjam on Sept 21, 2017 5:25:43 GMT
So I just saw that they have added dates - so I guess that ends the speculation that the tour is ending early (which would be really odd since it hasn't even opened yet) But - what was strange to me - they have the tour playing in London in April, for a week? Can that be right? I mean - if they're going to do a stop over in London, wouldn't that kind of demand at least a three or four week run
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Post by chernjam on Sept 18, 2017 23:57:43 GMT
Well it's not going to be Elaine, Betty or Patti in a million years so if it isn't Glenn then who? I think, given what happened with Phantom, the last thing they would want to do is go with something new/different. No. It HAS to be Glenn. She'll act the hell out of it and they'll make her sound incredible. Indeed, at least two of the people mentioned above, have voices that are shot. Glenn is fine, and its not as if she has to get it right first time. They need someone who can sing and act it, and the voice has to match the role being acted - so she's not meant to sound nice, solid, and 100% on the note. They may need a big male name as lead, but they would be dim to repeat the error of Les Mis, and just have one person who could sing their role really well- Sam Barks just showed the rest up . They don't want the equivalent of someone twittering away as Cosette, when we have just seen the pretty much definitive version in the 02 concert, or a Javert who can't sing. Siobhan and Fred Johanson are pretty much perfect in their roles. he's got a tone that can't be matched by any known actor, and Hollywood doesn't have sopranos that can sing her role as well. He looks right, and if the requirement is for the Betty to look pretty , Siobhan looks damn pretty. There's a close group atmosphere in all the videos of the cast that suggest Glenn works well with people she knows and trusts, and there's also youtubes where she and Siobhan sing from the show together - must help having someone who can sing the songs as well if not better to practice with. Siobhan is still in New York by her twitter,Michael seems to be doing someting else on broadway, Fred is currently home. its going to come down to whether the dreaded, and often dreadful, name casting wins, or Glenn asks for who she wants, or ALW insists on someone that can actually sing the notes, as well as play the roles. djp - I have a feeling that if Paramount does get the script right, a director they like within the time frame they announced (by January 2018?) they are going to want some big names other than Glenn in it. As much as Glenn was instrumental in getting the ENO cast to Broadway - and if the rumors of a month run in Australia are true, I bet she'll get that again -- I doubt a new version of one of Paramount's prize possessions is going to go to the excellent cast we saw in NY |
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) and it was a reasonable $39 (as opposed to in NY where it sold for over $100) a full three months before it was due to be released here in the states. Anyway... that was my first listen to the score and I fell in love with it. And I enjoyed their performances (and still think in all the Sunset fiasco, Anderson was the biggest casualty of all. I much prefered his voice to Campbell)
