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Post by wickedgrin on Jun 25, 2018 10:33:06 GMT
Possibly. But all their made at curve shows are commercial ventures designed for that. So why not a new title? The issue is that there are not many musical titles that guarantee commercial success especially without a name. Plus of course, there may be rights issues to obtaining them for a regional production.
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Post by wickedgrin on Jun 25, 2018 10:23:05 GMT
Presumably a commercial decision to rake in some cash?
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Post by wickedgrin on Jun 24, 2018 11:52:39 GMT
I agree with much of the above tonyloco although I did think the production and some of the numbers slow. Certainly shows of that era were/are 3 hours long - currently the R&H King & I at the Palladium. But shows cannot be preserved in aspic. I witnessed a total re-imagining and impressively sung production of G&S Iolanthe with an all male cast in the same week as Kiss Me Kate. D'Oyly Carte Opera Company went to the wall trying to preserve these shows as they were originally staged. So I think that revivals of musicals today have to recognise the changes - a shorter attention span for example and up their game. So I think the numbers in this show needed a little more pep, as did the dialogue. I agree completely about the lack of chemistry between the leads, and when the supporting roles were better played (Bill and Lois) it unbalanced the whole show. Some of the staging too simply did not work as you say.
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Post by wickedgrin on Jun 24, 2018 1:21:09 GMT
I can guarantee that it wont be staged anything like that at the Union. Probably a couple of ladders and a chair!
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Post by wickedgrin on Jun 23, 2018 11:54:36 GMT
Frankly, whatever the casting I just cannot sit though ANOTHER production of The Importance of Being Earnest! My life's too short!! I must have missed them. There was the one that they messed about with, was that the older actors' effort? But I don’t recall any other notable production. Well, there was the David Suchet Lady Bracknell production at the very same theatre in 2015. But, I rather meant generally that it is a play that is "done to death".
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Post by wickedgrin on Jun 23, 2018 11:13:14 GMT
I also think Sophie Thompson has been miscast. Lady B will be much scattier than usual, I suspect. Now where did I put that handbag? Yes, I can just see her performance perfectly without actually seeing it! Then (despite her extensive range of stage work) we will get the old dears in the audience saying "ooh look wasn't she the clairvoyant in Corrie?
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Post by wickedgrin on Jun 23, 2018 11:06:06 GMT
Apparently the first England match peaked at 18.3 million people - the biggest TV audience by far this year. I am totally out of the loop.
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Post by wickedgrin on Jun 23, 2018 11:01:10 GMT
I was asked by a young girl on Wednesday if it was my first time at the theatre..... Well, as pick up line I suppose it beats "get your coat you've pulled!"
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Post by wickedgrin on Jun 23, 2018 10:57:47 GMT
Yes, LOTS of old women yacking throughout the overture at Kiss Me Kate in the Dress Circle the other evening. It's not just a 3 piece band but a FULL orchestra - listen FFS! I turned round in my seat at one point and was quite honestly going to say "will you shut the f*** up!" but the expression on my face and the fact that I had turned round shut them up anyway! I should hire myself out as a "shut the f*** upper!"
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Post by wickedgrin on Jun 23, 2018 10:47:22 GMT
Not a fan of the New Union Theatre. I do hate the unallocated seating. You have to arrive early to get the number to get in first but it means hanging around - there is nothing in the area and when I went they were not serving food and looked at me as if I was insane for asking.
I don't like the staircase stage right of the space as it unbalances the space - stage centre is not the centre of the total space (if that makes sense) because the staircase intrudes on the space. The actors used this staircase for entrances and exits and had to tip toe up and down - most distracting.
Plus - yes it was VERY warm in there and it wasn't a particularly hot day!
The productions seem to have gone off too. The two I have seen were both very mediocre and nothing else has either appealed or I have wanted to take the risk of wasting an evening.
Plus - I can remember a time when ladies would have been horrified at sharing loos with men.
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Post by wickedgrin on Jun 23, 2018 9:54:35 GMT
Just saw Nicole. Wow, wow, wow. She was fab!!! I have just seen that WestEnd Understudies have tweeted that Nicole (1st Cover) is on again this afternoon. This brings to mind the depth of talent that appears to be needed to keep a show going today. I have not seen Nicole and I am sure she is splendid, but the show already has THREE Effie Whites! Now, back in the day to have three girls sharing a lead would have been unimaginable. I remember the fuss when Elaine Paige went from doing 8 shows a week in Evita, to 6 with "an alternate" for 2 nights - the alternate going on to take over from Paige when she left - Marti Webb. The point I am making is that the title role only had 1 lead, 1 alternate and I assume an understudy. Now we seem to have at least 4 girls (probably more) covering the leading role. So... the question I ask is - Is Effie White more vocally demanding than Evita? Or other leading roles for that matter... Kelli O'Hara will do 8 shows a week in the King & I barring illness for example. A 3 hour show where she is barely off stage. Or are the younger artists not as vocally trained / disciplined to deliver 8 shows a week?
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Post by wickedgrin on Jun 23, 2018 8:55:19 GMT
any more casting news on this? Frankly, whatever the casting I just cannot sit though ANOTHER production of The Importance of Being Earnest! My life's too short!!
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Post by wickedgrin on Jun 23, 2018 4:12:46 GMT
Not the most well known of G&S's operettas but a beautiful score very well sung with every word clear including the characteristic patter songs. A very talented young cast.
A superbly inventive production. I loved the quirky, unique design of the costumes which had a beautiful colour palette. The choreography was very clever, witty and inventive with lots of amusing business.
Recommended.
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Post by wickedgrin on Jun 22, 2018 9:35:02 GMT
I'm not going to sit on the fence here - I didn't enjoy it and was very disappointed.
Too Darn Slow!
The running time was almost 3 hours and we did not get out until 10.25pm! I felt this was not due to the reprises which are in the show but the pace of the dialogue and the tempo of some of the numbers (Wunderbar, So in Love) were slow too.
On the positive side the orchestra were excellent and the singing too was glorious but on this showing I do feel that Opera companies should not do musicals - it is a different discipline.
It is in the wrong theatre - far too big for this. I was in the 4th row of the Dress Circle and the show seemed miles away and black legs brought the stage in by about a third. The set looked lost.
The production reminded me of the old D'Oyly Carte Opera where the shows were set in aspic and this had all the traits! The chorus just coming on and standing and singing while the "dancers" danced in front! The chorus managed to raise their arms at the same time which seemed a considerable achievement. Cloths were caught on other scenery, there was a mal functioning sliding panel, poor lighting (underlit) and an overuse of the follow spots.
Some very odd staging decisions - I Hate Men and Too Darn Hot - which failed completely to lift off being set on the stage with the cast just hot under the lights in their costumes rather than in the back alley of the theatre by the stage door cooling off in the night air, which is sexy, sweaty and jazzy.
Performance wise - it was well sung but only the actors playing Bill and Lois made an impact and delivered the best musical numbers of the evening - a show stopping "Always true to you Darling in my Fashion" from Lois and "Bianca" from Bill - great tap dancing! But the company were mercifully off stage for these.
The ending of the show sits very uncomfortably now with the wife kneeling to her husband in subjugation.
However, despite the swathes of empty seats in the Dress Circle (the pricing for this is ridiculous) the old ladies around me (when they shut up talking and unwrapping boiled sweets) LOVED it. No standing ovation, however, warm applause, and everyone just seemed happy to get out.... at last.
I think the best way to enjoy this production is to close your eyes and just listen to it.
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Post by wickedgrin on Jun 21, 2018 8:20:46 GMT
Seeing this on Friday too! Looking forward to it. I too loved HMS Pinafore and Pirates.
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Post by wickedgrin on Jun 21, 2018 8:18:09 GMT
We will miss each by one evening tonyloco as I am going tonight and will report back. Looking forward to it - I hope I enjoy it!
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Post by wickedgrin on Jun 21, 2018 8:14:54 GMT
Yes, I would completely agree with your thoughts @tbfl I was looking forward to series 2 but disappointed with it. Almost every episode seems exactly the same - find an overweight, bearded, long haired, scruffily dressed and very untidy guy and give him a haircut, trim/shave beard, new smart casual wardrobe and "make over" his messy place. It isn't rocket science and doesn't take 5 guys to do it. Interestingly the weight issues are never addressed despite having a chief as one of the guys to encourage healthy eating.
Agree too about Karamo - I quite honestly don't know what he does?
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Post by wickedgrin on Jun 21, 2018 8:00:05 GMT
Carousel was in the Olivier theatre. I was there! Lyttelton. I was front row circle at press night, with Ned Sherrin sitting behind me and falling down the Lyttelton circle stairs after the show. Well, I apologise as I am clearly mistaken - old age!! Read more: theatreboard.co.uk/thread/1654/follies?page=138&scrollTo=212650#ixzz5J2m0DPB2This post by me, when I mistakenly thought I had seen the NT's production of Carousel in the Olivier rather than the Lyttelton (in the Follies thread) on 19th June and corrected by @theatremonkey I fear may have inspired a blog by the monkey on his site the following day - "10 signs you are becoming and older theatregoer"! Or, of course it just may be co-incidence! However on reading the blog I fear I have "become" rather than "becoming" an older theatre goer as I am very much afraid to report that I tick all 10 signs listed and a few more. A very entertaining read (although in my case a horrific one) at www.theatremonkeybook.wordpress.comI could add a few more signs but I don't want to embarrass myself on a public forum!!
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Post by wickedgrin on Jun 19, 2018 20:48:36 GMT
Carousel was in the Olivier theatre. I was there! Lyttelton. I was front row circle at press night, with Ned Sherrin sitting behind me and falling down the Lyttelton circle stairs after the show. Well, I apologise as I am clearly mistaken - old age!!
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Post by wickedgrin on Jun 19, 2018 14:46:09 GMT
Carousel was in the Olivier theatre. I was there!
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Post by wickedgrin on Jun 18, 2018 17:42:18 GMT
It's one of my favourite theatres in London! It is a beautiful theatre - amazingly intimate for its size as I have already said. Every visit I have had there over the years seems to be "an occasion" rather than just another theatre trip!
This production will be my 3rd King & I at the same theatre! First with Yul Brynner and Virginia McKenna and the second with Elaine Paige! Not her best role, as being short the costumes made her look like a tea pot cover!
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Post by wickedgrin on Jun 18, 2018 16:16:40 GMT
It does amuse me that nobody reads their tickets to check the date or the show itself! Yes, and the dozy ushers let them in!!
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Post by wickedgrin on Jun 18, 2018 15:59:18 GMT
Well after a year of Oscar Wilde, anyone wandering into the Vaudeville a week or two late expecting to see The Importance of Being Earnest will be in for a hell of a shock!
A bit like the elderly couple at Brighton Theatre Royal in the recent past who took their seats next to me in the stalls expecting to watch Wonderland (I think?) but instead started watching The Boys in the Band! They had the right seats for the wrong week! There was a hiatus as they got up and left!!!!
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Post by wickedgrin on Jun 18, 2018 15:49:23 GMT
Sam The Palladium is an amazingly intimate theatre for its size and you get a good view from all seats generally. It all depends really if you want to be nearer or further away.
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Post by wickedgrin on Jun 18, 2018 15:44:31 GMT
For instance, I'm a big Sondheim fan and there is very little online about the 1998 Donmar production of Into the Woods, which is quite surprising considering that it's one of London's most prestigious venues and that it featured a cast of brilliant names or soon-to-be names like Sheridan Smith, Damian Lewis, Jenna Russell, Sophie Thompson, Caroline Sheen and Carol Burt. There's pretty much no picture and not many reviews to learn more about this production. Has anyone here seen it? And how did you like it? 20 years ago... my goodness! I did see the production. Really enjoyed it. The back of the stage was one huge green forest/hedge and the characters appeared from within it and through it. Of the cast, only Sheridan Smith has made a lasting impression as Red Riding Hood - I remember thinking at the time that she was an actress to watch out for, there was something special about her even then. The production was intimate and thrilling and quite dark.
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