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Post by stevejohnson678 on Nov 5, 2018 17:45:23 GMT
I think this will be yet another mediocre production from SellADoor. The same production company behind Flashdance, Fame, Madagascar, Rock of Ages and the upcoming tours of Avenue Q and Amelie. In just the same way as Amelie, this is a smaller, lesser known show and probably easier to buy the rights to. So this will be probably just be another cheap and disappointing show, in order to make a bit of money. Who knows they might even use a click track throughout, just like they did for Madagascar and really push the boat out... I thought Selladoor's productions of Rock of Ages and Fame were well cast, effectively staged and performed with great energy. Nothing cheap and disappointing about them at all. Little Shop of Horrors and Footloose were great too. I'm really looking forward to seeing what they do with Amelie and Little Miss Sunshine and think it's great Selladoor are taking these on the road.
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Post by stevejohnson678 on Nov 4, 2018 16:14:39 GMT
The whole run is now sold out!
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Post by stevejohnson678 on Oct 29, 2018 8:37:51 GMT
UK tour confirmed after the initial run at the Watermill, visiting Wimbledon, Exeter, Wycombe, Oxford, Edinburgh, Bradford, Leicester, Birmingham, Glasgow and Woking, with more venues to be confirmed. www.whatsonstage.com/newbury-theatre/news/amelie-musical-uk-tour-watermill-2019_47888.html
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Post by stevejohnson678 on Oct 27, 2018 19:54:43 GMT
stevejohnson678 do you know the running time please. I’m tempted to get a ticket for this. Thanks. Two and a half hours including interval. Evening performances start at 8pm.
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Post by stevejohnson678 on Oct 27, 2018 10:08:50 GMT
Maggie May has sailed into Liverpool's Royal Court theatre and I daresay the powers that be at the Liverpool Empire are casting envious glances at their neighbour down the road.
The Royal Court has a tradition of presenting new work with a Liverpool twist but more often than not that's in the form of comedies. However here we have a new musical, ten years in the making, which tells the story of Maggie May, a young girl travelling from her home in Dublin in search of a new life in New York. Some minor spoilers may follow.
Maggie arrives in the city intending to set sail on the next ship to New York only for her plans to go quickly awry. It's through her eyes that we see the Mersey docks brought to life as her ambitions to begin a new life are thwarted and the reality of a very different existence sets in. We follow her first working as a servant then having to resort to work as a professional escort before filling the jobs left vacant by servicemen as the First World War begins.
The title role is a big ask but Christina Tedders delivers an electrifying performance that's the very definition of career-defining. She has a magnetic stage presence which is utterly enchanting to watch as she fills Maggie with a realism that means the audience are immediately on her side and invested in her as a character. It's the nuances in Christina's flawless portrayal that really struck me. While Maggie is rarely less than a force of nature on the outside, there's a vulnerability beneath the bolshy exterior which Christina captures quite exquisitely as deceits and misfortunes take their toll.
There's great work alongside Christina from Michael Fletcher who gives a heartwarming, hugely likeable portrayal of Maggie's confidant and admirer Charlie. The scenes early in act two when he returns from war and struggles to re-adjust to normal life are particularly affecting. Tom Connor as the lecherous James Campbell also impresses as the principal villain of the piece, while Barbara Hockaday and Katia Sartini sparkle as Maggie's descent into Liverpool's seedy and bawdy underworld gathers pace.
If the story sounds rather dark and depressing then the musical succeeds in being anything but that, largely thanks to one of the most impressive new musical scores I've heard for a long time. In the absence of a cast recording, a return visit is hugely tempting just to listen to those glorious songs again. The score is diverse, with folk-infused, foot-stomping numbers mixed with lush ballads, some of which feel almost laced with sea air as they conjure up images of sea shanties which help to further bring the Merseyside docks to the stage.
The music is brilliantly performed by the company of actor musicians but this never feels intrusive and the moments when the house band go all out in full ensemble numbers on the dockside or in the pub, such as the Cabaret-style number closing act one, are something to behold. There's a fair few earworms in the score and their reprises tie the whole thing together as a cohesive whole. Act one, while not entirely sung through, keeps the dialogue between songs brief, while the musical numbers become fewer, further between and on-the-whole more paired back after the interval. Fans of Once in particular will find a lot to enjoy here.
There's surprising moments of humour to be found in the script too, particularly in a scene which serves up a delicious farce towards the end of Act 2, helping to lighten the mood before the finale where we discover whether Maggie gets her happy ending.
The striking set makes use of a revolve which is an original feature of the Royal Court but has only recently been restored after decades out of use. It conjures up three distinctive mise-en-scènes of early 20th century Liverpool life very effectively.
My only criticism is that one or two things in the plot feel slightly glossed over and while this keeps things moving at a pace in a show already running to two and a half hours, an extra ten minutes wouldn't have gone amiss. That minor quibble aside though, Maggie May is an absolute triumph for the Royal Court. It's a story performed with energy, passion and emotion, laced with a rare degree of realism, that captures the hearts of its audience in a rich, sumptuous production. It deserves both a place in Liverpool folklore but also to grace stages far beyond its home city.
Five stars.
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Post by stevejohnson678 on Oct 26, 2018 20:25:56 GMT
Interval thoughts. I have to say this is fantastic so far, one of the best things I've seen this year for sure. The folk infused score is terrific and Christina Tedders is an utterly captivating force of nature in the title role. The only downside is the theatre is sweltering!
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Post by stevejohnson678 on Oct 26, 2018 12:20:13 GMT
On This Night of a Thousand Stars should feel truly magical when it's lashing down in Regents Park.
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Post by stevejohnson678 on Oct 25, 2018 19:48:47 GMT
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Post by stevejohnson678 on Oct 25, 2018 19:12:01 GMT
Friday: Maggie May (Royal Court, Liverpool)
Saturday: Rock of Ages (Liverpool Empire)
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Post by stevejohnson678 on Oct 25, 2018 14:26:51 GMT
I love the Hope Mill but it did make me laugh earlier when they posted two audience members' responses to the opening night, one of which mainly praised Sondheim rather than the production itself, and boldly declared that the show is a hit!
Does the suspended parallelogram have pride of place above the stage again?
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Post by stevejohnson678 on Oct 23, 2018 11:04:08 GMT
UK tour to follow London run, visiting Ipswich, Salford, York, Brighton. Bradford, Woking, Glasgow, Birmingham, Canterbury, Blackpool, Malvern, Leicester, Aberdeen, Exeter and Eastbourne.
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Post by stevejohnson678 on Oct 22, 2018 13:25:18 GMT
Full cast now confirmed.
Joining the previously announced Andy Nyman, Harriet Bunton, Dermot Canavan, Stewart Clarke, Matt Corner, Joshua Gannon, Judy Kuhn, Louise Gold, Kirsty Maclaren and Molly Osborne will be:
Miles Barrow, Sofia Bennett, Lottie Casserley, Lia Cohen, Shoshana Ezequiel, Fenton Gray, James Hameed, Matthew Hawksley, Matilda Hopkins, Adam Margilewski, Robert Maskell, Benny Maslov, Gaynor Miles, Ellie Mullane, Craig Pinder and Valentina Theodoulou.
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Post by stevejohnson678 on Oct 18, 2018 10:41:41 GMT
Surprised (and a bit disappointed) that this secured a transfer but Spring Awakening didn't. Great news for Hope Mill though with this following hot on the heels of the Hair tour announcement.
Brace yourselves folks for those iconic Aspects of Love glowsticks to light up Southwark!
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Post by stevejohnson678 on Oct 18, 2018 10:30:22 GMT
As soon as I saw Jethro Compton Productions were behind this, I knew I'd be booking. His company has done some tremendous stuff at the Edinburgh Fringe.
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Post by stevejohnson678 on Oct 17, 2018 15:10:23 GMT
Noel Coward between All About Eve and Dear Evan Hansen?
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Post by stevejohnson678 on Oct 16, 2018 19:40:49 GMT
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Company
Oct 16, 2018 16:24:55 GMT
via mobile
Post by stevejohnson678 on Oct 16, 2018 16:24:55 GMT
Does Daisy Maywood have only a minor role in this or is she a swing? No one seems to have mentioned her which surprises me because she was great in Promises, Promises at Southwark Playhouse and in the tour of The Flying Lovers of Vitebsk.
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Post by stevejohnson678 on Oct 15, 2018 7:40:57 GMT
Wednesday - The Animals and Children Took to the Streets (Liverpool Playhouse) Friday - Matilda (Palace Theatre, Manchester)
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Post by stevejohnson678 on Oct 14, 2018 13:54:46 GMT
I must admit I adored the show in its original carnation every bit as much as its current guise. The original cast were all fantastic. Full, instant standing ovations (and completely sold out performances) both times I saw it in August 2017.
Cambridge University seems to be a hotbed for Fringe talent every summer, with the Footlights, the Impronauts, the Musical Theatre Society, drama society and various Footlights' alumni bringing their own productions (Big Shop and Manhunt two such brilliant shows this year) and a raft of other Cambridge University related productions (The Man Presents: Women and the sketch show Speechless both among my personal highlights at this year's festival).
I hope the original cast of Six feel very proud to have played such a key part in the show's success. If they hadn't taken the Fringe by storm in 2017 I guess we may never have seen sight or sound of Six since.
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Post by stevejohnson678 on Oct 14, 2018 13:22:32 GMT
The Cambridge University Musical Theatre Society cast for the original sellout run at Sweet Grassmarket for the 2017 Fringe was: Catherine of Aragon - Megan Gilbert Anne Boleyn - Ashleigh Weir Jane Seymour - Holly Musgrave Anna of Cleves - Matilda Wickham Katherine Howard - Annabel Marlow Catherine Parr - Shimali De Silva Here's a brief clip of them in action: And the original artwork: Ashleigh Weir who played Anne Boleyn in the original cast was back at the Fringe this year with the Cambridge Footlights at Pleasance Dome and (for the final few performances only) the Cambridge University Musical Theatre Society's new show Lucky.
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Post by stevejohnson678 on Oct 12, 2018 12:31:42 GMT
This reminds me of the jukebox musical Carnaby Street, where there were characters called Jude and Penny Lane, but alas no rights for either of those songs to be used!
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Post by stevejohnson678 on Oct 11, 2018 9:20:09 GMT
Cast announced. Club Tropicana will star Joe McElderry, Neil McDermott, Kate Robbins, Emily Tierney (Wicked) and former Sugababe Amelie Berrabah who makes her professional stage debut. The cast is completed by Karina Hind, Calvin Hudson, Cellen Chugg Jones, Megan Louch, Rebecca Mendoza, Alexanda O'Reilly, Joshua Pearson, Rory Phelan, Nye Rees, Camilla Rowland, Christina Shand, Courtney-Brogan Smalley, Tara Verloop and Kane Verrall. Songs to be featured include Girls Just Wanna Have Fun, Take On Me, Just Can't Get Enough, Oops Upside Your Head, The Look of Love, Making Your Mind Up and Relax. www.whatsonstage.com/london-theatre/news/club-tropicana-uk-tour-joe-mcelderry_47777.html
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Post by stevejohnson678 on Oct 8, 2018 16:46:40 GMT
There was an interview with the writers the other day on the BBC website which said Don't Lose Your Head was inspired by Lily Allen. Ariana Grande and Rihanna were among the other inspirations apparently! www.bbc.co.uk/news/amp/newsbeat-45739935
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Post by stevejohnson678 on Oct 8, 2018 9:05:04 GMT
Seems to be more availability on TRH's own website than with Ticketmaster.
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Post by stevejohnson678 on Oct 3, 2018 13:27:13 GMT
Day trip to London on Saturday to see The Humans.
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Post by stevejohnson678 on Oct 2, 2018 16:09:15 GMT
The fabled producer, making his name by not paying cast, crew and other companies involved in collapsed touring musicals, who shall remain nameless on here, is co-producing this. I am therefore revising my decision to attend. I don't have the programme to hand to check but I'm sure he was listed as co-producer for Aspects of Love too. I feel the same way as you about his apparent involvement at Hope Mill.
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Post by stevejohnson678 on Oct 2, 2018 15:55:52 GMT
Midweek matinees at the Arts Theatre now sold out too. Funny to think that less than 15 months ago this show was heading to one of the lower profile Edinburgh Fringe venues (Sweet Grassmarket) as a student production only to take the Fringe by storm and not look back since! There’s still a fair amount of availability for tomorrow matinee. How strange. It was on the Six Facebook page they announced the rest of the run was sold out this afternoon.
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Post by stevejohnson678 on Oct 2, 2018 13:58:24 GMT
Other than both midweek matinees, all remaining performances sold out on the website. Midweek matinees at the Arts Theatre now sold out too. Funny to think that less than 15 months ago this show was heading to one of the lower profile Edinburgh Fringe venues (Sweet Grassmarket) as a student production only to take the Fringe by storm and not look back since!
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Post by stevejohnson678 on Oct 2, 2018 11:54:21 GMT
Looks like it's on priority sale for Theatre Card holders but any date I try to select (after signing into my account) it says not a valid date. The ATG theatre card saga continues.. I'm in and able to book. Premium seats at the Palace are £38 (currently) which is great to see! Still not working for me in Chrome but the same route in Firefox brought up the seating plan! Strange. £16 for ATG card holders on opening night for top price stalls in Manchester, £19 premium seating. That'll do nicely!
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Post by stevejohnson678 on Oct 2, 2018 10:59:02 GMT
Looks like it's on priority sale for Theatre Card holders but any date I try to select (after signing into my account) it says not a valid date.
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