607 posts
|
Post by chernjam on Sept 10, 2023 19:04:32 GMT
Does the sitzprobe usually take place 2 weeks out? I always thought it was last week of rehearsals?
Gotta admit, being very shrewd not leaking anything of Nicole singing yet to build anticipation. Here's hoping for a full recording and not just a highlights or covers of the big songs
|
|
607 posts
|
Post by chernjam on Sept 9, 2023 2:54:25 GMT
Well listening to the interview there's going to be no middle ground here - people will either love it or hate it. Will this be like the revival of Chicago which is still playing? Or another massive miss for ALW? I loved the original which was quite a theatrical experience. The revival was amazing just to hear the music from that 40 piece orchestra - and for that the music really soared. If they have a way of bringing the story to life in a new way that makes it accessible to people in 2023, I'm all on board. But if nothing else, it's definitely going to get people talking
Wonder if Glen Close will attend?
|
|
607 posts
|
Post by chernjam on Aug 23, 2023 3:20:18 GMT
10/10 for this concert production, certainly one of the best of these events there has been. But the source material is still duff. Such a waste of some gorgeous music on such banal lyrics and such a ridiculous plot. I can never keep a straight face when they are recounting their night of passion (“and I licked you, and I flicked you, and I sucked you, and I f…” etc) that has been conjured out of thin air to enable them to have a son. Didn’t think Norm Lewis was right for this at all either. All these years later Steve, you never fail to entertain. Literally fell out of my chair laughing at your version of Beneath a moonless sky |
|
607 posts
|
Post by chernjam on Aug 21, 2023 4:43:06 GMT
How much money did ALW loose on Sunset as at the time he'd have been rolling in royalties from Cats and Phantom? A fascinating question... From what I can remember, when Sunset closed both in NY and London at the same time (and WDTW Washington DC transfer to NY cancelled) it was massive news with the NY Times doing a pretty thorough, front page story on it. That gives a sense of what a worldwide mogul ALW/RUG had become. Anyway, I remember reading that NY closed recouping appx. 85 % of its investment which included the Patti settlement (because her non-performance clause was part of the NY production, not London) London production costs, I don't recall them giving a percentage about how close to recouping it Part of the escalating costs there included their incorporating re-designs to the set when they relaunched it with Betty Buckley and "incorporating the revisions made to the Los Angeles production." It was more than just some paint and alterations, since I think it also had changes to the hydraulics. At the time, we have to remember, RUG saw Sunset as being the next Phantom that would run for years and years - so all these crazy expenses seemed sensible. One of the main problems though was the weekly running costs where outrageous at the time, higher than Phantom. Which was what infuriated investors. The show having been sold out in NY with the largest advance in broadway history of over 37.5 million dollars by opening night (which was only recently broken by Bette Middler/Hello Dolly) with just some fiscal discipline and riding the avalanche of publicity/ Tony wins, etc had no reason not to recoup and turned a profit. It was RUG trying to prove they could match/surpass Cameron Mackintosh. Incredibly wasted opportunity and left a stain on what should've been seen as one of ALW's bona-fide hits being labeled "mixed" in terms of results. As for ALW personally he didn't lose money. As the composer, his personal royalties were separate from the production company. He would have been paid weekly like the actors, and all the creatives as part of the payroll. I remember one of the articles around that time saying he should've refrained from taking a salary till they recouped. Which is ridiculous. But the dual role as composer and producer has not really worked out for him, considering aside from School of Rock (which I'm not sure he was lead producer) he's not had a bona fide hit since |
|
607 posts
|
Post by chernjam on Aug 17, 2023 21:56:35 GMT
I was a child of the mega musicals and I have found in the noughties, 10s and 20s nothing ever comes close. Sadly, they are never coming back (much as I'd love to see the Apollo Victoria ripped apart again for a gigantic metal bridge and tracks). I've found however that I often prefer total reinventions to "the same but smaller." Again just my preference. I hate cheapish wobbly Kenwright sets. If it's not gonna be mega, I'd prefer it clever, conceptual, completely different. Miss Saigon in Sheffield utterly achieved this and this gives me hope Sunset may do similar. ENO and Curve tour I enjoyed but I just sat there thinking - well, it's not the epic Napier set. Kenwright Evita tour I just missed the Grandage/Prince vision. OAT I did not - didn't even think about it. So am all for something totally different for the mega musicals in the 20s! - Personal taste (again lol) but I love the bold colour blocking and choices for the design/advertising that we've seen so far. I also love the camp of the Scherzinger faces in front of the broken glass. No idea what they are going for but I like it! Anyway - just my opinion. Sorry, bit boring as know I have said all these things many times on this forum. But that's why I am excited about this production :-) On paper it ticks all my boxes so far.... All with a pinch of salt. Thought I'd love Aspects and I was underwhelmed. Thought I'd be underwhelmed by Miss Saigon and it was next level epic. But am thinking (and hoping) third time right! I've often dreamt that if I ever won the Powerball lotto (which recently had a jackpot of 1.5 billion dollars) I would absolutely stage the original with the original sets and an all-star cast even if it meant I burnt through $20 million. Would be worth every dollar. Sad that we didn't realize exactly how great those "good old days" of theater were. Got chills every time I saw it and that mansion floated in or whisked away. Truly something special and magical |
|
607 posts
|
Post by chernjam on Aug 16, 2023 17:50:33 GMT
Still cant get over the fact that we nearly had Cher as Norma. She auditioned in full costume and everything... Unfortunately a deal couldn't be struck. For this production? No as a replacement for the original production back in the 90's - I think as the first replacement for Glenn Close in NY |
|
607 posts
|
Post by chernjam on Aug 9, 2023 22:50:25 GMT
Went for a third and last time tonight. Watched the first act from end of row J in the stalls and the second act from a box. The orchestra and vocals sounded so much better from circle. Found the difference remarkable. All four leads on. Still not a fan of MB’s avuncular act and semi spoken delivery. JB’s voice worn out for much of the show. Chemistry with LPP non existent as before. Superb turns by both young actresses playing Jenny. DN brilliant as usual. Perhaps I was not paying attention but I am sure they skipped the first dress scene (quick… a brandy…) Some dialogue tidied up too with Alex saying nowt when George dies. Both stalls and two circles pretty much full tonight and half the audience providing a standing ovation. I am glad I saw the show again as I adore the score and doubt it will have another West End outing. There is also much to commend this production- I still enjoyed the fair and circus scenes in particular and hand me the wine and dice and anything but lonely hit much harder heard from box. However, it remains a flawed production due to book. They could have done more to paper over the cracks and go for an even tone. Going from shooting to a comedy song (she’d be better off with you) is just too jarring. And I would prefer the main LCE rendition to be delivered with welly, not a reflective weary tone. JB’s reprise at end of first act was such an anticlimax, I am guessing due to worn out vocal chords. But still very enjoyable. LPP and DN really sound amazing. And LPP definitely seemed to "get" the role of Rose and the story. She knows Rose is a drama-queen - and puts an act on of being very strong and independent, which is really her best performance as "she's scared to be alone." The orchestrations are really beautiful. As for "She'd be far better off with you" the reason it worked in the Original production was Ann Crumb played it that she got into a bit of a tussel with Michael Ball which inadvertantly the gun shoots her and then they bandaged her off-stage. So the back and forth between Alex and George while still inappropriate wasn't as jarring -if anything it underlined how clueless/selfish the two of them were. This really does sadden me too. At some point here in the US this past spring (probably when Phantom closed) they previewed the revivals of Aspects and I think Wizard of Oz (because I don't think Sunset had been announced at that point) saying that possibly it would come here too. I doubted it just because it really is niche-ALW at this point but hoped that it would still do decent enough in the West End that it would still have life in it. After this, I wouldn't be shocked to hear Anything But Lonely recycled in his next production |
|
607 posts
|
Post by chernjam on Aug 1, 2023 21:14:53 GMT
Does anything sell well in advance anymore? I'm judging from NY and pre-pandemic maybe only Hamilton or a few shows that had some celebrity attached to it were generally selling out/limited availability prior to opening. After the pandemic, as of late, the only show where advance ticket sales were crazy was Phantom once it announced it was closing. Just out of curiosity, I checked and there's about 100 tickets available for Hamilton on this Saturday which would've been unheard of before.
|
|
607 posts
|
Post by chernjam on Jul 30, 2023 0:32:46 GMT
Having listened to various productions of Aspects, with tweaks, changes and such over the years - its interesting to me that the Jenny story line is considered as controversial now when it has been somewhat toned down as compared to the original in which she was younger and it seemed more mutual between Alex and her (even stranger was that it didn't seem to bother critics too much - the general consensus was that the story was a bad soap opera rather than "ick")
All that being said, it is obviously problematic. I don't understand if going through the trouble of reviving this and billing it as "re-imagining" they didn't really fix that. It really wouldn't require much in terms of changes to the score - some lyric and directorial changes where they make it simply Jenny becoming infatuated with Alex, and Alex not feeling it but perhaps not discouraging it to get back at George for taking Rose. To me that would make the story a bit more believable, dramatic. I get that people would still feel the characters are not likable - which to me has always been the point. That none of them actually get what love is.
Anyway, its sadly a missed opportunity. This "reimagining" was simply really doing some bizarre edits to one of ALWs most cohesive and beautiful scores to give the lead a chance to belt a song that he still think is "his." It ruins the flow where it is placed now as well as the musical motif meaning of it being applied to George rather than Alex doesn't work for the rest of the score. Its sad that one of my favorite scores will probably never see the light of day in a professional setting - let alone get another life on any full recording (which is really a shame since the new orchestrations really do sound beautiful)
|
|
607 posts
|
Post by chernjam on Jul 26, 2023 19:00:58 GMT
Just to lighten the mood, bad/good as this may be, for those who saw it has to be better than the David Essex tour. I felt genuinely depressed - and not because of the story. Poor (then relatively young) Matthew Rawle. The David Essex tour wasn't the one that Gale Edwards directed, was it? If I remember correctly hers was similar to the Canadian/US Tour which opened a year or two after it closed on Broadway. Digging up old articles that I had collected at the time, it was amazing how much better received the US Tour (and Edwards) was received by critics, with some going to print saying how their entire impression of the show had flip flopped with these which had pretty much the original score in tact with minor edits and the set design being sheer curtains/lighting and a few props. |
|
607 posts
|
Post by chernjam on Jul 25, 2023 0:38:46 GMT
Of all the Joe's I've seen, the only one I think that really got it spot on was the original, Kevin Anderson Absolutely adore his voice. Can't bear to hear anyone else but him. Honestly, in all the casting chaos - between Patti and Glen - I felt worse for Anderson. Granted I never saw him live, just basing on pics and listening to the CD's his voice and vocal performance sounded spot on. Alan Campbell sounded (and acted) over the top for me. Could've been he was coached that way by Nunn - perhaps they had to make his performance less subtle/understated to match Close. When they first announced Close for NY - I was excited thinking Anderson was joining her |
|
607 posts
|
Post by chernjam on Jul 19, 2023 22:27:30 GMT
The more I've listened to the revival A couple of random thoughts: - the more the placement of Love Changes Everything doesn't work for me. Lyrically, musically, context it just doesn't make sense to me. While for this 30+ year fan its a bit awkward not having it at the start and knowing the history of the show how ALW didn't necessarily want that to open the show - I think it would work better as a close to Act 1 with Alex singing it. Hearing the (then) surprising news that George and Rose were married and expecting - I think dramatically it makes more sense there and would be a great Act 1 finale. - I do like the expanded Chanson d'enfance (with the inclusion of the extended version that was used for "If Only" from Whistle Down the Wind) the first time I heard it, I didn't quite get why Rose was singing it twice, but I get it,she's having a mountain top moment, goes and gets Alex and then shares it with him. (Perhaps they should've cut out his temper tantrum "Rose where are you?  ") and the pacing still seems too fast like they're rushing things so people can get their train or something. - Michael Ball doesn't sound like George to me. I don't know if it's that he's playing him too loud and gregarious or what. The way he sounds so emphatic LIFE goes on LOVE goes free - just sounds overly dramatic when it doesn't need to be. Agree with all chernjam - in fact very few of the changes improve things. I'd have left the opening exactly as was and am sure the moving of LCE was just so Ball could still have it. And yes, his George is just not that George like. It's too camp and too nudge nudge wink wink. I do also like the expanded Chanson d'Enface. Really gorgeous melody and one of the few improvements! camp - nudge nudge wink wink... that's precisely it! I don't mean to pile on Ball but even his "Other Pleasures" lacked any nuance. Its supposed to be this heartfelt, introspective reflection and its just belted - and the scene after when Alex and Rose arrive his reaction is over the top "DEAR BOY YOU MUST MEET JENNY." Granted Kevin Colson's perfromance is cemented in my head - but the other three leads I've found enjoyable and refreshing to hear a new take. As for the "ick" factor - I wonder if ALW staged this truly as an opera and had it translated into Italian if people would receive it better. A lot of operas have ridiculous story lines. To me, musically this remains one of ALW's finest... I had some of the lesser-known motifs from Aspects stuck in my head the last few days " have I changed...you're too polite, this face has had its day... is it General Alex yet?" - |
|
607 posts
|
Post by chernjam on Jul 19, 2023 2:35:17 GMT
The more I've listened to the revival A couple of random thoughts: - the more the placement of Love Changes Everything doesn't work for me. Lyrically, musically, context it just doesn't make sense to me. While for this 30+ year fan its a bit awkward not having it at the start and knowing the history of the show how ALW didn't necessarily want that to open the show - I think it would work better as a close to Act 1 with Alex singing it. Hearing the (then) surprising news that George and Rose were married and expecting - I think dramatically it makes more sense there and would be a great Act 1 finale. - I do like the expanded Chanson d'enfance (with the inclusion of the extended version that was used for "If Only" from Whistle Down the Wind) the first time I heard it, I didn't quite get why Rose was singing it twice, but I get it,she's having a mountain top moment, goes and gets Alex and then shares it with him. (Perhaps they should've cut out his temper tantrum "Rose where are you? ") and the pacing still seems too fast like they're rushing things so people can get their train or something. - Michael Ball doesn't sound like George to me. I don't know if it's that he's playing him too loud and gregarious or what. The way he sounds so emphatic LIFE goes on LOVE goes free - just sounds overly dramatic when it doesn't need to be. |
|
607 posts
|
Post by chernjam on Jul 17, 2023 23:20:45 GMT
I guess they're hoping people forgot that the original run was thru November - and if it started to sell out they could tell Michael Ball to unpack his bathing suit?  |
|
607 posts
|
Post by chernjam on Jul 17, 2023 0:55:30 GMT
It does seem like they are still trying to figure out the marketing thing post-COVID (and is the rail strike still going on out there?)... Perhaps if they had only announced a shorter run (16 weeks like Sunset) it would've sold better initially and then they could have extended or closed on time without the sting of the current scenario? As has been discussed, AOL has become a niche musical. MB popularity has probably diminished due to over-exposure so as a draw that was probably exaggerated. As a huge fan of ALW and AOL this whole thing saddens me as its unlikely I'll ever get to see a real revival here in the US and with the new closing date, flying over to the UK wasn't possible. Glad to hear things have picked up though
|
|
607 posts
|
Post by chernjam on Jul 14, 2023 15:15:17 GMT
A very, very kind soul shared an audio of this production since it isn't likely to be recorded and as much as I had hoped to travel to the UK this October to see Aspects and Sunset, with the premature closing of Aspects that's looking less in the cards for me.
In any event, have listened to the audio twice now. And after practically begging for a new recording, (it pains me to say this) after listening I wasn't as disappointed that it probably won't happen.
That is no slight to the actors or actresses. Their voices sound terrific and the new orchestrations are beautiful - and bring a nice refresh to one of my favorite scores after 30 + years of listening to the original one fairly regularly. But for all the promises of a "new definitive edition" and edits and changes, most of them seem unnecessary and I don't know the word - clumsy maybe? Maybe that's just me as such a fan who is shocked how much I've memorized the score so I'm aware of every slight lyric change (i.e. whether the housekeeper asks Alex is he still likes Omelettes or Pancakes upon each different production) - but some of the cuts to the score seem abrupt... cutting some of the verses of "A Memory of a Happy Moment" for "Love Changes Everything" just does not work at all for me. The song in that context makes no sense. George going from "life goes on, love goes free" to this philosophical treatise on "Love" at that point of the story is out of character. Just didn't like it at all. I know ALW went back and forth about the placement of it from the early days of Aspects, but for me of the two options, at the start seems to work better.
I don't mind the new ending. I know that's been controversial for many. In a lot of ways that makes more sense if the creators see it (as I have) as more of a cautionary tale of people not understanding the difference between love and pleasure. These characters are consistently finding drama because its all about self-centered pleasure with only elements of love sprinkled in here and there. So Giulietta singing "hand me the wine and the dice..." makes more sense story wise since that's what they've all been doing for 2 + hours and whatever number of years the show takes place. My only regret though is the pacing. The scenes and movements sound crazy fast and that there's not even a chance to breathe or take the scene in. The whole second act would've been more effective if they didn't rush so much.
Just some random, initial thoughts. I'll listen again since I do really love the score and enjoy the orchestrations and new voices. But must admit I was surprised at how let down I was
|
|
607 posts
|
Post by chernjam on Jul 2, 2023 0:33:49 GMT
I'm still surprised that Michael Ball hasn't tempted the crowds, like the coach tours and so on. I really thought his name and brand recognition of the title could have sold the entire run for 6 months. From the sounds of it, this strike has had a bit more of an impact on people venturing into London. The reviews for Aspects were not bad and it was a decent hit for ALW when it first ran. I didn't think it would extend past the limited run, but definitely didn't expect it to close so quickly. |
|
607 posts
|
Post by chernjam on Jun 30, 2023 13:46:26 GMT
I'm crushed to see this - and even more that it's doubtful it will ever be recorded (film or audio) again. As a score, it is genuinely one of ALW's best. I've always enjoyed it more than Phantom and on par with Sunset. Crossing my fingers that perhaps Ball will appeal to ALW for some sort of recording since this was really his initiative driving reviving this and knowing how much it means to him.
|
|
607 posts
|
Post by chernjam on Jun 28, 2023 18:51:09 GMT
Anyway, there we are. Still a fantastic musical, my second fave ALW score and I'll probably go three more times. It seems to be selling so poorly however I am a bit worried it won't complete it's run. Really hope it does. Thanks for the honest analysis... For those of us who are fans of Aspects of Love, I think we all know how in the decades since it first premiered, it has become very niche for ALW fans. Back in the early 90's when ALW was at peak popularity and his music and marketing more than compensated for difficult/crazy/unrelatable story lines. That seemed to wane right after Sunset. WDTW had such a massive music roll out with the pop versions of the songs doing well but the show only surviving (original London production) for 3 years I think? Anyway, I think that's why this needs to be recorded and preserved as its not likely to reappear anytime again unless they really butcher the book |
|
607 posts
|
Post by chernjam on Jun 26, 2023 19:57:03 GMT
Two quick things -
1 - just saw the tweet of Michael Ball and Danielle deNiese singing Love Changes Everything for "World Refugee Day" - they sounded amazing. Is it sung as a duet in the current production?
2 - Got a kind reply from RUG today - had emailed asking if they were recording a new Cast Recording, and the response was that they weren't aware of plans at the moment but that they would forward my feedback to the relevant persons and encouraged to keep following on ALW's socials. I'm interpreting that to mean those of us fans should keep (politely) asking about it to at least express our interest and desire. Can't hurt!
|
|
607 posts
|
Post by chernjam on Jun 22, 2023 5:01:42 GMT
get people's desperation that they're willing to settle for a highlights. But Aspects as a through-composed piece, they really have to do the full score. There's so much beauty, exquisite beauty in those motifs
|
|
607 posts
|
Post by chernjam on Jun 15, 2023 18:11:29 GMT
New Cast CD? Looks as if they are recording according to facebook? I tweeted Michael Ball, Aspects of Love London and ALW the other day asking about a new recording, no response yet. Maybe some other fans can start bugging them too and ask on twitter/facebook |
|
607 posts
|
Post by chernjam on Jun 13, 2023 19:00:13 GMT
I'm kind of shocked to hear that there were thousands of people online buying tickets today. It brings back memories of when the opening of a Box Office for a new Andrew Lloyd Webber musical was an event itself. I remember when Sunset arrived in NY, I think 9 months in advance you could book advance tickets where you had to mail in a check with dates and preferred section. My Mom and I did instantly and still ended up with center orchestra row Y about a week after it opened in November of 1994. The lines of people hoping for cancellations and people offering us $500 a ticket... those were the days |
|
607 posts
|
Post by chernjam on Jun 12, 2023 20:35:59 GMT
The word ridiculous comes up a lot with regard to the story of this show. Yet I never found it so in the original. (Certainly no more ridiculous than a flying green witch or disfigured genius 😀) A Little Night Music plays with the notion that love turns us into fools. Aspects should be more tragedy than farce, with a grim kind of inevitability. George’s wife and daughter - and finally his mistress - all fall for Alex, who only really wants Rose. Then, at the end, when she finally needs him, he walks away, because he feels guilty. For the death of her husband, no less! None of which should be a laughing matter. If it is then the direction has gone seriously askew & I can’t wait to see for myself… As one who hasn't seen the new production, I guess that's why I've never had a problem with the story line was that I always saw it as tragic. They are all selfish, self-centered individuals who, as human beings desire love, but can't see their greatest problem. When its all about a person's wants, needs and pleasures and not about the other, it's not "love." I mean from the very get go it's obvious the kid is infatuated with an actress - who's down on her luck and "might as well enjoy the moment." Perhaps that type of insight doesn't guide the director/direction - but that's how I've always approached this piece |
|
607 posts
|
Post by chernjam on Jun 12, 2023 20:29:18 GMT
I literally can’t decide whether to book for this or not. It’s probably my favourite musical but I don’t want to trek to London to see some ridiculous reinterpretation that changes it all for no good reason. What to do? Have absolutely nothing to go on - but I'd say to get a singer like Nicole with a score like this, they have to be pulling out the stops in terms of orchestra. So at the very least it will be worth hearing... and its certainly shaping up to be a theater "event" that I doubt you'd regret going if for nothing else being able to say you were there and saw it I mean its not the dreadful "lets make actors also play the music and pretend we're being artistic and creative." There's a lot banking on this, particularly if it's true that the avalanche of ALW Stuff is to sweep away negativity from Cinderella |
|
") and the pacing still seems too fast like they're rushing things so people can get their train or something. 
