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Post by wickedgrin on Aug 23, 2017 13:22:42 GMT
There is poster on here who goes under the name of Parsley. He/she goes to the theatre a lot but seems to like very little and is known for leaving at the interval on numerous occasions. Their opinion is often at odds with the majority on this board. So I was being likened to Parsley having slated La Cage - so parsleyesque!
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Post by wickedgrin on Aug 23, 2017 12:39:28 GMT
your standards are too parsleyesque I will take that as a badge of honour! I didn't leave at the interval though - but I was very tempted. Perhaps leaving at the interval qualifies for an advanced parsleyeque badge - I will do my very best to achieve this!
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Post by wickedgrin on Aug 23, 2017 10:23:59 GMT
Hadn't even noticed my 1000th posting! Trust me for it to be a whinge!!!! Life is indeed too short for 1000's of postings! Note to self - must get a life!!!!
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Post by wickedgrin on Aug 23, 2017 10:19:50 GMT
This thread was on page 3 of the Musicals section of the board and I hate to drag it to the top really but I caught this show in Brighton last night and just could not resist commenting.
I have seen many productions of La Cage in my time including the original London Palladium production with Denis Quilley and George Hearn and of course the Menier Chocolate Factory production with Douglas Hodge. This production was the worst I have ever seen.
John Partridge (who to be fair was very hard working - 8 shows a week in a demanding role) was appalling in the role. I just did not understand his acting choices or perhaps how he was directed. He appeared to be in a totally different show to the rest of the cast, who were attempting to perform La Cage, while he thought he was in pantomime! Who thought that a northern accent was a good idea - it fixed the show firmly in Funny Girls in Blackpool rather than the La Cage Aux Folles on the French Riviera! The accent of course disappeared (almost) during the musical numbers which he managed to murder with odd phrasing and belting. His performance as Albin was vile, crass, self indulgent, hammy, totally lacking in warmth and charm. He almost sank the entire show single handed.
Marti Webb was a joy in a small role and the actors who played Anne and Jean-Michel were charming.
The set had a great retractable staircase with peacock sliding frames at the top - clearly all the set budget had been spent on this as the rest of the set consisted of 4 tatty cloths that looked like left overs from a production of Hello Dolly to signify Albins apartment, Chez Jaqueline, and a street on the French Riviera. Lighting was flat and dull. The costumes, however, I thought were excellent. I genuinely have seem far better amateur productions on this very stage!
This was by far the worst production I have seen of the show. There was a discussion on another thread about the quality of touring musicals compared to the West End and unfortunately this exemplifies what folk outside London deem to be acceptable. I have to say that the show went down a storm (even in Brighton which I thought would know better) huge laughs and a partial standing ovation at the end from a packed theatre! Clearly my standards are far too high or other peoples standards have slipped!
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Post by wickedgrin on Aug 23, 2017 9:35:50 GMT
Tried to book for this online and the website would not let me book the seat I wanted that was available - "an error has occurred, please phone the box office". This I did and was told that the seats that were available online should not have been as they were reserved for the promoter and should have been greyed out. So tried to book and failed - really life is too short for this. My first visit to this theatre is not happening. I will see something else!
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Evita
Aug 22, 2017 13:15:50 GMT
Post by wickedgrin on Aug 22, 2017 13:15:50 GMT
Horse. Flogging. Dead. A.
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Post by wickedgrin on Aug 22, 2017 0:24:46 GMT
It won't be very high wire in the Menier - mind you it wasn't high at Chichester either.
Crawford was sensational doing this at the London Palladium where the wire stretched across the Palladium proscenium. It was a real thrill him crossing the wire while singing to Jenny Lind in one of the boxes - the wire leading to her box - I've just realised what I have written!!!! LOL. Must lay off the G&T!! He never fell off when I saw the show but if he did he always had another go. LOL!! Plus his amazing rope slide down to the stage from the gods!
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Post by wickedgrin on Aug 21, 2017 19:21:52 GMT
What is strange here the Menier has lined up the show, without naming who is going to star and with someone that needs to be a 'quad' threat, you would have thought they would have lined their star up at the same time. They must have someone lined up even if they have not announced?
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Post by wickedgrin on Aug 21, 2017 14:08:15 GMT
I would agree with a very long holiday, however, she has always been very focused and career driven, at the expense of her private life.
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Post by wickedgrin on Aug 21, 2017 14:01:59 GMT
Oh yes a bit of gender blind casting and no interval - it's all the rage!!!
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Post by wickedgrin on Aug 21, 2017 11:40:00 GMT
It will be interesting to see who they cast in the title role - the success of the whole show depends on this. The recent Chichester revival did not transfer into town as Cameron would have liked due to the casting of Christopher Fitzgerald who was very uncharismatic! Cameron also tinkered with the book to make it work better without success.
The original production only worked due to the charisma of Jim Dale on Broadway and Michael Crawford in London who both gave show stopping performances and the spectacle disguised the shows flaws - the book! Stripping the show back will only expose these.
As others have said - not an ideal or obvious choice for a Menier production - they must be looking to transfer like Funny Girl and this will all depend on the casting of the lead. I can't think of anyone who could do this quite frankly let alone anyone who is prepared to commit the time to (potentially) a year in the WE on top of a Menier run.
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Post by wickedgrin on Aug 20, 2017 22:28:05 GMT
It will be interesting to see what Sheridan does next. I doubt she will want to undertake another big role in a musical for a while. She would have been fabulous as Bridget Jones in the proposed musical, but that seems to have fallen through. I predict more TV roles, or perhaps a limited run of a play.
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Post by wickedgrin on Aug 19, 2017 15:48:16 GMT
Hes got a great voice, a great actor and a great body, what more could you want! ![:P](//storage.proboards.com/forum/images/smiley/tongue.png) And seemed destined to perform under railway arches....mind you haven't we all Ryan?
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Post by wickedgrin on Aug 17, 2017 19:00:09 GMT
I saw this show last night. What suddenly came to me was - if this show was staged now for the first time would it be banned?? I've seen JCS so many times in so many productions but society changes, terrorism changes us. To see a bloody Jesus being crucified to rock music (gold glitter aside) for the first time shocked me. I almooooost thought it was offensive or crass (and I'm an atheist!). It's become a global hit very much because of its time and I know it was controversial then. But last night the authenticity and raw direction of the piece really opened that up. Oh there were HUGE protests outside the Palace Theatre when it originally opened. Every night! Times change thank goodness.
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Post by wickedgrin on Aug 17, 2017 13:35:13 GMT
The top two levels were closed when I went too, but the tables, stalls and dress seemed full (when the seating plan wasn't) so they must upgrade to ensure the front is full for Audra to play to. This really is unmissable.
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Evita
Aug 17, 2017 7:31:19 GMT
Post by wickedgrin on Aug 17, 2017 7:31:19 GMT
It is heavily discounted at TKTS. Top price stalls down from £65 to £30.50 53%off.
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Post by wickedgrin on Aug 16, 2017 23:40:01 GMT
Tickets for this are expensive for a fringe venue
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Post by wickedgrin on Aug 16, 2017 8:53:45 GMT
Tour "postponed".
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Post by wickedgrin on Aug 16, 2017 8:37:37 GMT
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Post by wickedgrin on Aug 16, 2017 1:30:41 GMT
Way too old now, to do stage door Yes me too - it would look very creepy! However, when I am out and about in London I often see actors either in the audience or around theatres and always say "hi" rather than just staring. Without exception all have been delightful to talk to and happy to chat. Most recently (last week) I saw the gorgeous Marc Elliott outside the Gielgud Theatre after seeing the Ferryman. He seemed delighted I actually knew his real name rather than his character name from EastEnders or Holby City and even more delighted when I said I had enjoyed his performances in City Of Angels and Urinetown etc. Absolutely delightful and dishy - although very short and slight for those of you interested in size!
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Post by wickedgrin on Aug 16, 2017 1:01:16 GMT
Yes, I am VERY tempted to go again, but alas money and time are finite!
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Post by wickedgrin on Aug 16, 2017 0:58:24 GMT
How are we feeling about the chances of it actually coming back to London? Slim I would have thought. It did well at the Old Vic AFTER the reviews came out but it was a very limited run and clearly it has not been the success they had hoped for on Broadway. I would say it would be risky bringing back to London. But hey, what do I know!
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Post by wickedgrin on Aug 15, 2017 17:40:35 GMT
I think a lot of musicals almost from the get go becomes machines. Once rehearsals, previews, press nights etc. are out of the way most casts in large musicals find themselves with 10 months to go on their contracts and they pitch up to "work". That work involves replicating the show night after night for 8 shows a week. It is just part of the job. Technically, of course, the show is a machine with all the scenery and lighting controlled by computer with buttons being pressed.
To an audience, probably seeing the show for the first time, it is hugely entertaining - perhaps celebrating a special occasion and are out to enjoy themselves, but the cast and crew it simply is another day at the office!
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Post by wickedgrin on Aug 15, 2017 14:49:58 GMT
Further to this point, did shows like Les Mis, Phantom, Wicked, Cats,... become massive global successes because of their sheer entertainment quality or did marketing play a big part in their success? These shows are more than just very successful theatre shows. They have transcended the regular theatre community and made their way into mainstream pop culture. Very good question. I don't know the answer! Cam Mack produced 3 out of the 4 you mentioned so he might be fundamental to the success of 3 of them. I would say, probably, it is a combination of a successful artistic production AND clever marketing - who can forget the eyes of the cat for Cats, the mask for Phantom etc. Iconic images in themselves!
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Post by wickedgrin on Aug 15, 2017 14:38:44 GMT
Is that a failing on the part of the actors then? If it's obvious they're just going through the motions, hitting the spots, following cues, then they've failed in making their performance genuine and convincing. No, I wouldn't have said so. They are very tightly directed and have to follow the template of what has gone before. The original actor "created" the role under the supervision of the original creative team and that becomes the definitive characterisation for that particular production. Inevitably the original cast member give something of themselves into the characterisation which may not sit as comfortably with a new actor. It's just the job they have to do.
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