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Post by MusicalTalk on May 2, 2024 16:50:23 GMT
I heard something silly like the software to develop the automation programming for the show cost £85k alone!
It truly was a remarkable feature of design. The aforementioned Chase scene was one of the most impressive coup de theatre I’d ever seen especially when the whole set turned black-and-white in front of your very eyes.
The abbey reveal was a marvel as well. I wish we would see shows like this again! No screens, no projections … just absolutely beautiful physical scenery and technology being used hand-in-hand to create a wonderful experience.
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Post by MusicalTalk on Apr 21, 2024 21:06:44 GMT
Massive shame that Gary Wilmot isn’t in it this year!
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Post by MusicalTalk on Apr 19, 2024 9:56:01 GMT
1993? It only opened in the west end in 2002!
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Post by MusicalTalk on Apr 9, 2024 16:56:41 GMT
Chatted to Alan Menken today and he said they’re doing a new cast album for the show which is exciting! He’s happy the Broadway changes will finally be on an album!
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Post by MusicalTalk on Jan 26, 2024 11:38:34 GMT
And herein lies the problem with UK Theatre. “Stick some stunt casting in and it’ll be alright”.
Get the songs rewritten by people that know what they’re doing and then it’ll be alright.
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Post by MusicalTalk on Dec 4, 2023 13:35:55 GMT
A documentary crew should be following this debacle They should do a play about it. The Curse of the Enfield Haunting. Travel from Brighton, to Richmond and then to the West End as you discover the true story of a cursed play depicting the true story of the cursed House in Enfield.
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Post by MusicalTalk on Nov 28, 2023 11:42:03 GMT
Every song in the musical should move the plot forward. If it doesn’t, it’s flawed. The big problem with pop song writers writing musicals is they’re very good at expressing the same emotion for five minutes, but the art of writing an integrated book musical is far deeper than that and sadly this show really is really let down by the very weak (albeit pretty) songs.
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Post by MusicalTalk on Nov 28, 2023 9:01:10 GMT
Thanks!! I did wonder up there to have a look but it was so busy there I didn’t notice anything!!
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Post by MusicalTalk on Nov 27, 2023 11:11:56 GMT
I saw it last week. Managed to get a seat in row E on the aisle for £62… I don’t know how!
I’m not hugely familiar with the series but I watched the catchup series mentioned earlier in this thread and that was useful.
It’s too long but it’s engrossing with wonderful staging, effects (one involving a small creature blew my mind) and the design was great though I didn’t like the revolve always moving during some scenes.
The theatre however is a mess. One tiny loo for the men in the stalls, right corridors and a confusing layout. It needs a complete refurb.
Dare I coin a new term for this type of play - along with cursed child and refer to this as a “mega play”.
Overall I loved it!
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Post by MusicalTalk on Nov 12, 2023 10:12:08 GMT
The line is “children are assholes”.
She then sings a very good song, defending her choice of words.
The thing is with family shows is it has to have something for the adults as well.
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Post by MusicalTalk on Aug 7, 2023 15:35:43 GMT
This has clogged up theatres for far too long and the pro-shot version has, ultimately, harmed it it seems.
It's great it's employed so many for so long - but... let's give other shows a chance.
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Post by MusicalTalk on May 13, 2023 11:38:37 GMT
He should release the musical he wrote when he was 13: "Cinderella up the Beanstalk".
Can't be any worse than Bad Cinderella.
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Post by MusicalTalk on Apr 26, 2023 9:45:51 GMT
Thankfully!
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Post by MusicalTalk on Apr 1, 2023 15:14:15 GMT
Pheonix. Îs this a hint?
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Post by MusicalTalk on Mar 3, 2023 12:25:45 GMT
It will be safe in the hands of Matthew Warchus. Paul Hart is directing, Matthew Warchus directed the original. Yes - I got confused when it mentioned Matthew in the announcement! Will be great to see a new version none the less!
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Post by MusicalTalk on Mar 2, 2023 22:54:33 GMT
It will be safe in the hands of Matthew Warchus.
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Post by MusicalTalk on Feb 9, 2023 15:34:34 GMT
Dave Stewart did Ghost and this... which isn't a good sign. Also Joss Stone... is she well known for musical theatre writing chops?
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Post by MusicalTalk on Sept 1, 2022 10:59:31 GMT
I think the issue people have is the it's "cheap" compared to the original production that played at the Dominion.
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Post by MusicalTalk on Aug 1, 2022 8:20:42 GMT
You'd think as opposed to Netflix being moaning and power hungry so-and-sos - they'd work with (thus becoming) the producers and creators to make this the hit people want it to be.
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Post by MusicalTalk on Jul 21, 2022 9:03:22 GMT
Well Simon Limpkin is doing elf - so that’s him off the list for this.
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Post by MusicalTalk on Jun 15, 2022 16:44:25 GMT
Also wondering what the new material we are hearing is? The spelling of Matilda…. Interesting.
The tone looks right … warchus knows what he’s doing!
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Post by MusicalTalk on Jun 12, 2022 21:55:07 GMT
The issue is Laurence can't say no to ALW - as he produces the show, owns the theatre and has written the music. If ALW presents a song that's derivative, bland, banal or something we've heard before - he can't exactly tell him to go back to the drawing board with it like Hal Prince would, for example. Laurence probably has the most shows on in the west end of any director - but they're mostly re-hashes... good on him though, if he's found his niche. I didn't mind the direction of School of Rock.
ALW Just needs someone to tell him to re-write material at times - as opposed to him messing around with his music team and probably writing down the first thing that comes into his head and sending it off to have lyrics forced into the melody.
As usual ALW has blamed the failure of a show on everything apart from his ability to write a strong score. Covid, cast, government, design, direction - whatever... it's never the fact that his music is weak.
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Post by MusicalTalk on Jun 8, 2022 12:58:28 GMT
I think everyone who wanted to see it - saw it. Then - when 2020 happened and it closed - it probably wasn't missed very much.
Then the film came out and really showed the flaws of the musical (not likeable lead, pretty bland and clichéd songs) and the demand for it was lost. It's good it had its audience here and it won some awards but, I guess, its time has come!
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Post by MusicalTalk on May 31, 2022 10:16:03 GMT
yes - a big part of me wished they got a real musical theatre lyricist on-board... Mr Ballard proved with Ghost he can't really do it but he's worked with Silvestri on the Zemikis stuff before - so it was probably a done deal. Some of the lyrics are lazy, sadly. EG - "mover/cooler" and "booster/future" are not acceptable musical theatre rhymes. I do love the show - but so much of the musical material could be condensed. It's still thrilling to watch though!
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Post by MusicalTalk on May 16, 2022 9:47:34 GMT
Also remember shows are much cheaper to stage here than Broadway. They're also doing a limited run at Manchester - so they can budget for that. They'll also (hopefully) look at what didn't work on Broadway and make edits for the UK production.
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Post by MusicalTalk on May 8, 2022 8:36:28 GMT
Grease last night was fun; whilst not as elaborate or detailed as the one they played at the dominion 30 years ago - this production reveals the show’s darker edge and tone whilst still being a strong parody of 1950s attitudes and films. I always forget how clever the songs are and it’s nice to hear some I’ve never heard before - such as Tattoo Song and How Big I’ll Be (first featured in a revised Version done by the American theatre company)
Peter Andre was fun as Vince Fontaine but his performance of Teen Angel was lacking as he seemed not to bother to sing the last note of the song - but it was still fun and the audience, whilst a bit chatty, lapped it up.
Was nice to see my friend Olivia Moore be amazing as Sandy, too!
I just wish someone would stage the true original in the UK. With boogie man boogie, in my day, kiss it and all choked up - and restore the alma mater (and its parody) along with the framing device of the reunion.
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Post by MusicalTalk on May 6, 2022 7:45:20 GMT
Did whoever pull the sword out of the stage automatically become king?
What a Carrie on this show is!
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Post by MusicalTalk on Apr 20, 2022 6:20:25 GMT
I went on Friday night and the program features the new cast.
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Post by MusicalTalk on Apr 7, 2022 19:05:26 GMT
Just use the ever reliable TodayTix. No £245 seats showing there… the most expensive is an eye watering £172.
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Post by MusicalTalk on Mar 11, 2022 22:27:14 GMT
Yes and it’s amazing in the film version where you get the wide angle shot of it from the bottom of the stage!
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