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Post by nash16 on Nov 5, 2023 12:46:19 GMT
Susannah Clapp nailing the bizarre pronunciation going on in this show in today’s Observer reviews (3 geeat write ups, including poor Lyonesse finally too): “ But why does everyone talk as if they were being jabbed between each word: “What. Is. The. Matter?” Is this ancient Britspeak? The effect is not quite pronounced enough to suggest a distinctive dialect but is more than sufficient to mangle the sense of the verse, with subjects and verbs waving at each other across the gulf of a pause.” I wonder if Ken feels bad about not directing all the RADA grads well enough? They’ve been slaughtered in the reviews. But then maybe that’s karma for promoting students from a drama school that really doesn’t need to give its students any more legs up? I think that people should try and be kind and compassionate instead of writing nasty comments like above .. Something has obviously happened to someone on the cast for them to cancel the show . I’d imagine if it’s Sir Ken is someone wrote on here he had a cold on Friday and he probs doesn’t have an understudy as he is the reason this show is virtually sold out . I do hope they re accommodate those canx tickets by putting on extra performances .. so many people want to see this. Re the show I go and watch a lot of London shows and I’ve never commented before … HOWEVER I think the reviews on this one are very very harsh . We British don’t like successful people for some reason especially when they are as talented / successful as Sir Ken ..acting / directing / writing lots of Oscar nominations .. the critics are also Slamming Lyonesse for similar reasons I feel . Let’s encourage our very successful screen actors to step back on the stage not pull them part when they do .., Sir Ken has made this King Lear for the people .. yes it’s commercial and not what you will see at the RSC but frankly last time I watched KL it was far too long and boring being no Shakespeare expert I couldn’t understand it .I’d much rather watch this . This show is totally different .. Sir Ken and the very talented ex RADA cast make it easy to understand with the pronunciation … it’s shortened yes and 2 hours is long enough . I found it fast moving and extremely well acted . The Stonehenge setting is clever and as he is a young King Lear that makes sense as does the young cast probs all under 35 . Everyone I was with loved it and there was a standing ovation and loud cheers so I guess the rest of the audience did too . Looking at the cast list a couple of brand new graduates who were great ( most of the cast have worked quite a lot post Rada )but why shouldn’t he promote the drama school that trained him and where he is President ? Good for him giving these talented young actors a great showcase . I love Sir Ken’s performance as Lear .. very modern take on it . Almost having a break down in front of us instead of going completely mad .. he is a joy to watch performing Shakespeare for the masses like me . Keeping it simple ! What a wonderful actor and director ( maybe people just don’t like the fact that he does both ?) My favourites in the rest of the cast are hard to pull out as they are all so good ( credit to Rada training ) but doubling of Cordelia and the Fool just like it was done in Shakespeare times played by Jessica Revell needs a special mention . I think people will look back at this show and say how lucky they were to see Sir Ken play King Lear at 62 in the West end
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Post by nash16 on Nov 5, 2023 12:41:38 GMT
Wow, it’s found it’s target audience pretty quickly! Oh dear, show stopped for rowdy audience members to be thrown out tonight.
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Post by nash16 on Nov 2, 2023 11:21:11 GMT
Ah yes, those RADA actors, that need that break so much more. We watched this on Monday evening and enjoyed it. Notable actors have ‘helped out’ RADA before by acting with students in the RADA studios - Tom Hiddleston appeared in Hamlet (directed by Ken Branagh) a few years ago there.As RADA President, it isn’t really surprising Ken should act in and direct Lear. I suspect the two hour non stop running time, is maybe partly to try to engage younger people with shorter attention spans than the three plus hours Lear usually needs. (Though it does mean the deterioration of Lear, etc, is speeded up a bit!) But think that’s Branagh’s big problem-he can be a great actor and a great director, but he cannot/shouldn’t direct himself (not many actors can). He would be better off doing one or the other, but not both at the same time. (Does he give himself notes?!) However, he is one of the few great Shakespearean actors, alongside McKellen and Dench, in as far as he has a way of delivering the lines which make them instantly understandable - many times we’ve had to ‘tune in’ to the Shakespearean language with other actors, but with these three you don’t, it’s understandable straight away. Couple of observations re Branagh. Gorgeous hair, makes him look more older Thor like, than old Lear. We were sat quite near the front in the stalls so could see facial expressions pretty well-he didn’t seem to feel it in his face(if that makes sense) his eyes pretty much didn’t change expression. Oh also, the ending was the theatrical piece you might expect from Olivier. 😉 Would say McKellen’s version is by far the best Lear we’ve ever seen, but this is perfectly fine, but could have been better (and the RADA cast were good enough, particularly the older ones who’d been off and done other things and came back to perform in this). And yes, it is pretty much sold out.
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Post by nash16 on Nov 2, 2023 11:18:46 GMT
I’m seeing an empty stage, lots of side lighting, some onstage camerrrrras, and, in the the title number, Dolly descending covered in the blood of her fox fur, and the ensemble facing away from her whilst monotoning “Hello”. The lighting will reduce and reduce over the course of the show. The curtain call will be solemn, and Imelda will be refused a bow. Instead, the Ensemble will simply point at her. Dominic Cooke will be arraigned for stealing Lloyd’s vision. Lloyd will have already been arraigned for stealing van Hove’s. 5 stars. That’s lovely- but it’s Rae Smith Designing it. I’d heard that what was designed for the Adelphi was very brown and dour- let’s hope she’s found her red and gold paint by now. Just looked at her website and her work certainly seems very muted and dark. Not typically Dolly
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Post by nash16 on Nov 2, 2023 9:40:50 GMT
Just read the reviews and got an email from Nimax saying Rows D through X in the Stalls anlongside other levels imminently unavailable. This was such a poor show. And we were sitting close so that Act 2 opened just looked like some weird, 70’s TV special effect, as you could see all those poor actors in their black onesies. Nick Curtis in the Standard just wrote some akin to “you know it’s bad when you come out whistling the set”. Yet still we’re going to continue with this baffling onslaught trend of movies into musicals? When there’s so much original work wanting to be staged? Lawdy. What do we think will replace it? I sat there several times for ... Jamie as the front row was priced £20 then. It is one of the highest stages in the West End so probably not for the vertically challenged, but considering the second row is priced up to £95 it's good value and - as with Jamie - those seats will sell quickly. I've booked a Saturday evening in December so thanks very much for the tip off ! Had an email from Nimax Theatres that the front row B is no longer available and we've been switched to row C with the offer to be moved further back if preferred but I'll stick with C Guess too many people complained about the very high stage
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Post by nash16 on Oct 28, 2023 18:56:46 GMT
Fear not. You are not alone. I think a lot of musical theatre fans have never seen camera work like this in their shows, whereas play goers have seen it for the past 15+ yrs, thus minds being blown. But everything “innovative” in this is actually stolen (mainly from Ivo Van Hove. The filmed-walk-around-building-whilst-singing idea was Ivo’s for his West Side Story not so long ago, for example). That guy playing Joe could sing gobbledygook at the start of Act 2 as no one is listening to what he’s singing, just pointing going “we were just by that pub”. 😂 A lot of (borrowed) Emperor’s New Clothes. Am I alone in thinking this production is overwrought, over-indulgent and frequently incomprehensible to anyone unfamiliar to the original narrative. And as for that tour round the Strand at beginning of Act 2 - all very clever but WHY??
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Post by nash16 on Oct 26, 2023 16:26:26 GMT
Only about 6 the night I saw it. The two Americans in front of me jumped up, but then only a few front stalls.
It was just over 3hrs and when you get a play that long (and this bad) people are normally too tired to stand. (Unlike Sunset Boulevard where they seem to be standing every five seconds, Britain’s Got Talent itus style…)
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Post by nash16 on Oct 24, 2023 23:01:20 GMT
I don’t want to get into “spoiler” territory (mainly because I still don’t know how to do the Spoiler thing on here, haha), but I was in awe of how that actor managed to deliver any of his lines and make them sound remotely natural or logical. I felt the script actually made him look bad as an actor, let alone a character, in the first half. He seemed better in the second, even though none of what occurred was remotely believable. Pantomime baddie is the right description. It’s only been an hour, but even recalling it now is painful. And anger inducing. And they’re stuck in it until Christmas. Flip. Yes and I also do this and not being contrary or difficult And we ALL get caught out And don’t want to go around thinking everything will be rubbish and being so cynical! But it’s a cause to reflect especially when it comes to the WE and there is so much great theatre elsewhere for much less Royal court, almeida, Donmar, NT I have become ruthless with WE now It is (or used to be) particularly exceptional to premiere a new play direct into the WE… Generally for me it raises suspicion 😂 And I sorry you didn’t enjoy it It is a very very long painful evening disjointed Did you find the husband particularly unrealistic may I ask? Do men behave like this pantomime storybook baddie?
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Post by nash16 on Oct 24, 2023 22:43:20 GMT
Can you return it for credit and book a cheaper one? (Or avoid…) Ah balls, I've paid full whack for this.
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Post by nash16 on Oct 24, 2023 22:42:28 GMT
We booked up to see it in the hope it was going to be great. We can’t be “guilty” when we don’t know the quality of the play or performances, as it’s a brand new production and play. They are the guilty party. But yes; maybe an email to Sonia to say “WTAF was that?”. Oh dear. How was this allowed to be staged? It’s not ready. Script or performances. Probably because of the script. There’s about 11 plates spinning and all of them crash to the ground long before the end. Paid for Balcony, so that’s the only relief. It didn’t seem to have a focus, and the Doon/Lily scenes seemed from a different play entirely. Stunned that Ian Rickson directed this. It’s baggy, slow, and wondering. And Kristin Scott Thomas (although very funny in her “monologue” looks lost. Oh for the Pinters she did to return. Imagine paying through the nose for this. Press Night tomorrow. Yikes. Partly we are all guilty As we both booked and paid to go and see it Hence facilitating poor quality material The playwrights previous works onstage are just as patchy I think paying audiences Particularly those in the WE should take some responsibility towards what they are enabling Does anyone write to the producer or director or playwright to feedback? It is particularly symptomatic in the WE over the last year there have been several dreadful plays all of which have attracted leading or famous actors And done good box office numbers The issue will go on People book ahead for new plays It’s the risk
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Post by nash16 on Oct 24, 2023 21:49:19 GMT
The Britain’s Got Talent ovations need to get in the bin. Not to take anything away from the Nicole and Rachel, but I've seen six productions of Sunset and Norma;s two big numbers have always, always, received rapturous ovations from the audience. They are two of the most foolproof ALW songs and the only surprise would be if they somehow fell flat. I assure you sir…not to this extent.
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Post by nash16 on Oct 24, 2023 21:47:44 GMT
Oh dear. How was this allowed to be staged? It’s not ready. Script or performances. Probably because of the script. There’s about 11 plates spinning and all of them crash to the ground long before the end. Paid for Balcony, so that’s the only relief. It didn’t seem to have a focus, and the Doon/Lily scenes seemed from a different play entirely. Stunned that Ian Rickson directed this. It’s baggy, slow, and wondering. And Kristin Scott Thomas (although very funny in her “monologue” looks lost. Oh for the Pinters she did to return. Imagine paying through the nose for this. Press Night tomorrow. Yikes.
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Post by nash16 on Oct 22, 2023 23:06:38 GMT
This makes sense though, as only West End fans will know who Rachel is. The majority of the public/coach parties/out of towners seeing a show will want to say they’ve seen Nicole. Even if they’ll get a better acted performance from Rachel… Plus, Monday nights. Not a big “going out” night. Here’s to Rachel getting the audiences she deserves. Just glancing at ticket availability for Monday nights compared to other nights and it does seem that there is far more availability for non-Nicole performances
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Post by nash16 on Oct 21, 2023 7:12:46 GMT
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Post by nash16 on Oct 17, 2023 18:43:33 GMT
Went last night. Didn’t realise it was a play from 1996. For some reason I thought it was brand new going in. Oh dear. I can only chime with the audience members overheard above. It’s far, far too gloomy, almost relentlessly so. And, more pressing, we don’t care about the title character. She gets no journey, rather a repeat of scenes which all follow the exact same pattern: beginning with how great/troubled Portia is, and then Portia or another family member pressing the self destruct button. Then we have songs which slow everything down every further, as nicely sung as they are. Repeat for a further 15 scenes. And they’ve put an interval in, just to drag out the pain. (In Ireland, Denise Gough’s take ran straight through). There were at least 6 non-returners after the interval. Alison is a great actress, but this is a depressing evening.
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Post by nash16 on Oct 17, 2023 18:37:08 GMT
Obviously aiming for the Tony Awards window, but I think it will backfire with low sales meaning they’ll have to close early.
A couple of nights at a 54Below would have been more sensible.
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Post by nash16 on Oct 15, 2023 20:03:09 GMT
3 stars. “More hologram than heart.” Nails it.
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Post by nash16 on Oct 11, 2023 16:46:48 GMT
It’s probably more technical difficulties, after last night. But the only way to confirm this is if the show DOES go on tomorrow night, and they Press as planned, because that will prove it wasn’t “cast illness”, which one would imagine would take longer to recover from than just a default 24 hours. If they lose the technical side on opening night, the whole “emperors new clothes” of it all will fall apart pretty quickly, and they won’t won’t to risk that happening. Gutted about tonight Does anyone know how ATG approach cancelled performances? Is it it a refund, or like for like priced seats or equivalent seats? It's particularly unfortunate because the prices go up after Press Night. The tickets I have for tonight are more than double the price going forward. Also, I wonder if it's cast illness or actually more technical difficulties... Either way - hope all involved are ok!
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Post by nash16 on Oct 6, 2023 13:21:23 GMT
Atypical of our current, disgusting government. Just wanting to check you’re not equating what I wrote with them? Before I involve Admins… If you're quoting BTTF, I think "...you're children are gonna love it..." would be more appropriate. JSO is a childish attempt at disruptive anarchy by people with no purpose in life - they're either silly little student kids or retired old has-beens, all of whom think soft protests will make a difference. They look decidly amateur compared to more organised groups. This is while the oil companies tolerate them, because they pose little or no threat other than to sway public opinion against their cause. JSO are the biggest threat to green goals and ambitions - rich-backer funded anarchy. It's Brexit all over again. "I think people get enraged by them because they know, deep down, that JSO are absolutely right." That reminds me of a Home Office psychiatrist many years ago who said that the more gay people insist they're gay, that shows they're really heterosexual deep down.
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Post by nash16 on Oct 5, 2023 13:42:18 GMT
Because (and hold another front page for this, and maybe sit down before you read on) people can be theatre lovers and not want themselves or future generations to die because of how we are treating the planet in the way we are. This might take a while to process though. Steady yourself. Well, your utopia is on fire, babes. I think people get enraged by them because they know, deep down, that JSO are absolutely right. “But my night out! My night OUT!!” JSO defenders live in a peculiar no-man's land where almost any amount of petty, untargeted cruelty can be excused, but actually mounting direct resistance against the forces driving climate change is somehow infeasible. If JSO are "right", then what are you even doing on this forum? Why are you treating yourself to "nights out" while simultaneously decrying "nights out" as selfish, privileged diversions that nobody is entitled to enjoy?
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Post by nash16 on Oct 5, 2023 11:02:04 GMT
Thank you for making me laugh. 😂 It is beyond doubt that, with this stunt, JSO have achieved a great deal. The oil industry will be absolutely delighted. People who care about the environment will now be thinking twice about wanting to be associated with this movement, and the climate-change deniers will feel emboldened. You are absolutely spot on with your evaluation. JSO and their ilk have a permanent presence outside several oil co headquarters - nobody gives a sh*t because they are flaccid little Tarquin and Jemima sorts, or retired pensioners from the home counties. JSO isn't organised in any way or form, it relies on hi-vis tactics (literally) and anybody with an ounce of brain should question the underlying tactics behind JSO - I would argue that their tactics alone have emboldened the current government with the confidence to backtrack on several "progress" initiatives, as it tries to claw back populist votes from frustrated motorists and working class voters who are being hit financially left, right and centre. JSO is funded disruption by people who either choose not to work or don't need to work, and their modus operandi is nothing to do with their core intentions and everything to do with maximising disruption and frustration for the masses. It is a perverse attempt at posturing and power play, and one day it will get seriously out of hand when they misjudge their next big hit and somebody ends up getting hurt. (But of course, that's what they want - it's sociopolitical gladiatorial behaviour, which won't end until there is bloodshed. Rightly or wrongly.)
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Post by nash16 on Oct 5, 2023 9:49:00 GMT
Erm, if you think they’ve achieved nothing in terms of highlighting the major problem hurtling towards our near futures, you might want to check newsfeeds here in the U.K./around the world. They front paged it. Those audience reactions. It’s brilliant. And depressing. You couldn’t write it. Do they know what they’re watching? The themes and content? Made me roar. Good on JSO. It may affect one evening or one drive, but for the price we’re all going to pay in the future, a little deviation from what was planned, and a moment to confront what the bigger importance is; just vital. And they’re number one on BBC News so they’re still getting publicity in the right ways. I’m sure if they could have infiltrated the Tories (as they have done many times before) at their rally, they would have. Do we know if there’s footage of Cameron reacting to the news? He’d be PURPLE! But this has achieved nothing! Publicity and attention for a few brief moments will not change anything. If you think that it’s justified at the expense of ruining theatre for all these people, then I really think you’re on the wrong forum.
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Post by nash16 on Oct 5, 2023 9:46:52 GMT
Yes, was thinking of exactly that moment. And Cam M’s horror captured on film for all time. He deeserves nothing less. People’s attitudes of “how DARE you ruin my evening out” are… Reading a lot of the reactions on here is actually quite scary. What did he sing in BTTF? “My myopia is my utopia.” Well, your utopia is on fire, babes. I think people get enraged by them because they know, deep down, that JSO are absolutely right. “But my night out! My night OUT!!” We’re screwed. Those audience reactions. It’s brilliant. And depressing. You couldn’t write it. Do they know what they’re watching? The themes and content? Made me roar. Good on JSO. It may affect one evening or one drive, but for the price we’re all going to pay in the future, a little deviation from what was planned, and a moment to confront what the bigger importance is; just vital. And they’re number one on BBC News so they’re still getting publicity in the right ways. I’m sure if they could have infiltrated the Tories (as they have done many times before) at their rally, they would have. Do we know if there’s footage of Cameron reacting to the news? He’d be PURPLE! To be fair, this was nothing compared to his own protest at the rehearsals of 'Barnum', as filmed for that C4 documentary. CM joining in last night could have gone something like this: 'Listen, you may want an end to new oil licences and a future for the planet you and your children will inherit, but I want 'Colours of My Life', and I'm supergluing myself to the barricades until I get it!'
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Post by nash16 on Oct 5, 2023 0:33:46 GMT
Looks like they’re, cleverly, keeping them away. I think National reviews would severely scupper the London run. I don’t have any interest in what in the local papers say , they’d like any old rubbish. Any national newspapers reviewing this?
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Post by nash16 on Oct 5, 2023 0:27:48 GMT
Those audience reactions. It’s brilliant. And depressing. You couldn’t write it. Do they know what they’re watching? The themes and content? Made me roar.
Good on JSO. It may affect one evening or one drive, but for the price we’re all going to pay in the future, a little deviation from what was planned, and a moment to confront what the bigger importance is; just vital.
And they’re number one on BBC News so they’re still getting publicity in the right ways. I’m sure if they could have infiltrated the Tories (as they have done many times before) at their rally, they would have.
Do we know if there’s footage of Cameron reacting to the news? He’d be PURPLE!
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Post by nash16 on Oct 4, 2023 15:05:31 GMT
Sorry, I meant from the National papers. The only reviews I’ve seen have been local/blogger ones. They could be keeping the papers away though in case it jeopardises a London run based on the posters above?
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Post by nash16 on Oct 4, 2023 14:29:14 GMT
Thanks for these. Yes, it will be interesting with the camera work, because it is already quite a n old fashioned device in plays, that sort of peaked and has faded from productions now, so will be interesting for the musical goers only world to get to experience it. It’s not new though, and I’m fearful the excitement on here regarding eg the title number, will not be regarded in such high esteem by reviewers who will have seen it used a million times before. Goodness, why would they ask a cast not to smile at bows? Is that a thing? Do other shows do this? We thought they’d done such a great job to get through the show, but they looked like someone close to them had passed away. We were worried for them. Also there last night and what an oddity this is. So many elements of storytelling have been removed, to the point where, without prior knowledge of the show, I fear many will be lost. People seemed wowed by the camera work, reactions to which were lovely to see, but do they know this type of hybrid work has been around for years? Having read abojt the start of Act 2, but not what specifically happened, I was disappointed to see it was avery distracting walk around the theatre (didn’t Ivo do that with Network years ago? And many productions before and after?). Nicole seemed to act with her whole body, but I’m not sure how much of it was truly connected. Tom looked and sounded great. No chemistry between them, but did it matter? Grace the standout: what a voice and great acting. David seemed miscast…and very much “acting”. Biggest laugh came with him looking at the Pussycat Dolls photo on his dressing room mirror (what was that all about?). Found it so hard to connect with a production that seemed to be doing everything in its power to not let you connect with it. And the poor ensemble: this stripped back a production renders them more unnecessary that usual. They added so little. Yet we’re working so hard. (All that dimly lit choreo…). One thing to ask: they looked so unhappy last night at the curtain call. Not one happy face. It sort of summed it up for us. I fear the newspapers (not the bloggers; the bloggers will be rhapsodic, and may not have seen the much lauded camera work in a show before) may call Emperor’s New Clothes on it all. Do we know when it’s off to Broadway yet? They’d have to have a Feb/March/April opening to guarantee Tony Noms. Just wanted to comment on a couple of points. Not sure that the story bring lost on "newbies". I went to the first preview with a friend who had never heard of the musical, story or music. I was worried that she wouldn't understand it with no scenery to put it into context but at the interval she assured me that she followed it with no problems. The point about the camera work having been around for years, I'm sure you are right but I had never seen it used like this before so was totally new and exciting to me. I really don't go to plays, only musicals and I've never seen it in a musical before. I believe something similar was used in Oklahoma recently but I didn't see that as they had murdered the music and knew I would hate it. Cast looking unhappy at the end. I think that's the direction as they were the same for the first preview. Shame as I'm sure they were smiling away inside by the audience reaction.
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Post by nash16 on Oct 4, 2023 12:53:32 GMT
Any idea when the reviews embargo is for this? Realise they had their Press Night the same evening as Old Friends.
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Post by nash16 on Oct 4, 2023 12:51:30 GMT
😂 I’d love to do that, but, let’s be honest, something tells me us Theatreboard members slip into the whatsonstage category, than the more objective newspaper reviewers. I’m trying to look outside our echo chamber. . Another 3*, this time from Time Out. I do like their lack of kowtowing to the expected 5*, “it’s Bernadette, it’s Lea, it’s Sondheim” enthralment that the likes of whatsonstage have, naturally, gone for with this. Not having as much of an investment in “the industry”, I tend to believe their views more. Hoping this will be the case with Sunset Boulevard too, as the newspaper critics will have seen live camera work onstage many, many times before, and will see that it’s actually a lot of recent, if old, ideas rehashed, unfortunately at the loss of the story and any sense of being moved. It’s always interesting the difference between reviewers for the industry website reviewers versus the newspaper ones. But can be a cold wake up call for those caught up in the event, rather than the originality of the content. Maybe best to go by theatre board star ratings rather than newspaper critics (who seldom like musicals). 18 5* scores and only 2 3* from board members. We are far better critics:)
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Post by nash16 on Oct 4, 2023 11:15:17 GMT
Also there last night and what an oddity this is. So many elements of storytelling have been removed, to the point where, without prior knowledge of the show, I fear many will be lost.
People seemed wowed by the camera work, reactions to which were lovely to see, but do they know this type of hybrid work has been around for years? Having read abojt the start of Act 2, but not what specifically happened, I was disappointed to see it was avery distracting walk around the theatre (didn’t Ivo do that with Network years ago? And many productions before and after?).
Nicole seemed to act with her whole body, but I’m not sure how much of it was truly connected. Tom looked and sounded great. No chemistry between them, but did it matter? Grace the standout: what a voice and great acting. David seemed miscast…and very much “acting”. Biggest laugh came with him looking at the Pussycat Dolls photo on his dressing room mirror (what was that all about?).
Found it so hard to connect with a production that seemed to be doing everything in its power to not let you connect with it.
And the poor ensemble: this stripped back a production renders them more unnecessary that usual. They added so little. Yet we’re working so hard. (All that dimly lit choreo…).
One thing to ask: they looked so unhappy last night at the curtain call. Not one happy face. It sort of summed it up for us.
I fear the newspapers (not the bloggers; the bloggers will be rhapsodic, and may not have seen the much lauded camera work in a show before) may call Emperor’s New Clothes on it all.
Do we know when it’s off to Broadway yet? They’d have to have a Feb/March/April opening to guarantee Tony Noms.
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