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Post by JJShaw on May 18, 2018 22:36:13 GMT
Listening to the cast recording... Not the best score. I think it probably works on stage, but as a cast recording, the music is pretty samey and just not that tuneful. Tina's husband isn't one that chugs out great tunes. The beginning of "A Cautionary Tale"reminds me of the Prelude of Next to Normal followed by "Just a Perfect Day". I do enjoy "Apex Predator" and "I See Stars" (the latter for some reason reminds me of the way No Day But Today is done in the Rent film). I too listened to the CR today and was a little underwhelmed, unfortunately. I so wanted to like it as I think the movie is very well written and "gets" it. You can tell its the same composer for 30 Rock; lots of similar orchestrations. I really liked Karen's song, Sexy, and Meet the Plastics (for the most part), I felt like they had the right tone for the show and understood it the most. Perhaps its a score that needs to be seen rather than heard, but it felt a little too pop-punk for me and disconnected. I would happily go and see it to be proven wrong about it being lackluster!
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Post by JJShaw on May 11, 2018 12:46:59 GMT
For me one of them is 'All You Have To Do Is Wait" from City of Angels, completely breaks up the flow of an otherwise nearly perfect score. Plus it is very odd to have this song sung by characters we dont really know much about/need to care about. Plus it's irritatingly catchy!! In fact... I think it's a great song, but it doesn't belong in that musical. Ah thats a better description of it i think! Youre right, its not a bad song, but being in that particular show (which is one of my favourites so thats probably why i feel more negative towards it), its merits are weakened.
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Post by JJShaw on May 11, 2018 9:53:22 GMT
For me one of them is 'All You Have To Do Is Wait" from City of Angels, completely breaks up the flow of an otherwise nearly perfect score. Plus it is very odd to have this song sung by characters we dont really know much about/need to care about.
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Post by JJShaw on May 5, 2018 10:00:11 GMT
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Post by JJShaw on May 1, 2018 22:53:46 GMT
I saw the matinee today, and it was interesting to see something with such mixed responses, I was glad to say that id be more in the "i enjoyed it" camp.
The play reminded me of The Wild Party; lots of stories going on at the same time, unfortunately, I was a little annoyed by Hugh(? the main male character) constantly babbling and interrupting his own sentences it did get a little grating, wasn't sure if that was the writing or direction. I loved Christine and wanted to spend more time with her.
While not an awful lot happens, it could be a little shorter but i didn't think there was anything that was dead text. I thought the set for it was really nice, an awfully large cast for the show though! cant imagine the costs for that, and perhaps the boredom for some of the silent roles.
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Post by JJShaw on Apr 28, 2018 22:19:50 GMT
Oh yeah the story leaves much to be desired! The main thing that stood out for me was the performance of Two Out of Three Ain't Bad with no introduction to these characters or their relationship, am I supposed to care about this situation? Luckily it's a great song and enjoyable anyway which goes for the whole show. I plan on going back for the music and the spectacle. I feel exactly the same way about that! great song, performed well, but who are they (at that point)?!
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Post by JJShaw on Apr 25, 2018 23:11:50 GMT
I went to the matinee today after hearing good word of mouth and was interested after hearing that it was originally written as a musical before becoming pop songs.
Unfortunately, it's not the show for me. The script is absolutely awful and I found myself rolling my eyes multiple times. All the jokes not getting Tink's very easy name right, really? Leave that for pantomime! The girl playing Raven; I wasn't sure if it was her acting or her character but she was very whiny and annoying. Why are she and Strat in love? when did they meet? Why do we follow the other Lost couple? Why does she work for Raven's family?
Undeniably the vocals for the principals and the cast were amazing and very impressive to be doing that once let alone 8 times a week. I did like the character of the Mother and I thought the actress playing her was great, she got me invested in her story and character arc and it was always better when she was on stage, for me.
This show has stupid amounts of money, i cannot imagine the budget for this show! A huge ensemble that doesn't double up as anything really, when the flaming heart came down for the finale (for no reason!) my mouth dropped open! Most shows would kill for their marketing budget alone.
Also, I was "forced" to stand for the end because i wanted to watch the finale and curtain call but who knows at jukebox musicals how long they can go on for so i sat for as long as i could before feeling awkward and joining in.
It was nice to see such a splashy, spectacle of a show but with the empty vessel of a story that I just didnt care for it didnt really satisfy me. I dont mind being in the minority and clearly the show has lots of fans who enjoy it!
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Post by JJShaw on Apr 24, 2018 10:02:38 GMT
But it does mean some of the songs can be quite wearing, and the whole show is very 'full on' in general. I saw the show last night and this point is something I agreed with. While I enjoyed all the songs it did almost a little same-y in the score and a little difficult to distinguish them, but I did enjoy all the songs! I enjoyed the show but its quite a tightrope walk between being campy, over the top, and trying to not let that schtick be too grating. It didn't quite sit right with me and I think it might have been to do with the length. Before I checked i assumed it would be a one act musical around 90 mins - 1hr 45mins (Which upon research post show they did adapt it to that in 2015) and I think I would have preferred that. As the plot doesn't quite demand the length it is. All the performances were good everyone's vocals were wonderful! I think the Arts is a great venue for the show, a good size for it. The set was good and I enjoyed the lighting particularly the final moments.
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Post by JJShaw on Apr 21, 2018 10:32:48 GMT
Same! My interest has been peaked just by the poster, that's good advertising!
The synopsis of it being a comedy won me, and seeing it was KP absolutely sold me on it, cant wait to see it!
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Post by JJShaw on Apr 20, 2018 13:34:02 GMT
I certainly am. I do this embarrassingly stupid thing every so often when I want to see a show a lot more than my friends. I’ll get the tickets and will lie about the cost, as I know they would never come otherwise. Then they pay me and I subsidise the difference. I’ve done that before. glad im not the only one! although also sad that we do this sometimes
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Post by JJShaw on Apr 20, 2018 9:22:32 GMT
As well as 1000 extra tickets released tomorrow, starting from June 1st more tickets will be released every Friday Crazy. They have probably only sold about half the tickets across the entire run and make this announcement all over social media like it’s a brilliant thing they are doing for people who missed out. Ridiculous marketing it does appear to have been quite a messy announcement/booking what with the social media controversies. Perhaps this was to combat the backlash of people not being able to get a ticket? (Although they sold lots of tickets i didnt think it was a sell out) But this does seem like a good point to make. If I had forked out more money than I wanted to to then only a week later hear theyre releasing more tickets at an affordable price, id be annoyed!
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Post by JJShaw on Apr 14, 2018 9:06:33 GMT
Surely people are jumping to see this because it’s an already established musical based on a cult classic film? Not because it originated in America? That’s where I find the argument gets tricky.
I do applaud the work of PTM and TOP for presenting new matierial so much and have always enjoyed their offerings of new work.
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Post by JJShaw on Apr 14, 2018 8:53:01 GMT
As for PTM saying people are really complaining it’s not a british musical?! To quote Bianca Del Rio “Really, Queen?!” (Oops sorry she’s American he probably wouldn’t appreciate that ) Not just playing Devil's advocate but I did see a couple of Twitter threads where people were complaining that it wasn't a British musical, and from what I remember the tone of it was pretty aggressive! Oh really? That’s interesting thanks for letting me know that. Didn’t realise that was true. I prefer to support new musicals, I don’t care where they’ve come from (and since grinning man and romantics anonymous and their lack of nominations it seems like people really pick and choose when to support NBM)
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Post by JJShaw on Apr 14, 2018 8:37:09 GMT
It wasn't in the Olivier, it was in the Lyttelton. That makes much more sense, thank you for correcting me!
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Post by JJShaw on Apr 14, 2018 8:23:57 GMT
I’m in the side that fully agrees you don’t have to tag someone in a negative comment, it’s just rude and asking for trouble. You probably wouldn’t say it to them in person to their face so why actively make sure they get a notification to see what you’ve said isn’t something nice. However it’s almost laughable at the response this has gathered from people in the industry why are complaining about the negativity. People are allowed to be upset! Theatre fans are usually upset when a subpar television star is cast in shows and they can also be upset when a performer is not their favourite is cast (at least I’m gatheringg that’s a complaint somewhere based on their reactions?) As for asking people to not complain about prices? HA! That’s one of the most talked about topics in theatre constantly; outpricing people so only the wealthy can afford to go, and Darren Bell is out here saying “If you can’t afford it don’t go”?!?! What if people wanted to go?!?! The responses from professional people in the industry is just as childish as... well the childish small minority of people who have upset them. I’m sure lots of people were happy to see Heathers is going to be put on (like me) and no doubt lots of people are excited for the one person announced in the casting so far. As for PTM saying people are really complaining it’s not a british musical?! To quote Bianca Del Rio “Really, Queen?!” (Oops sorry she’s American he probably wouldn’t appreciate that )
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Post by JJShaw on Apr 13, 2018 10:11:49 GMT
This is gonna be sold out by the end of today isn't it, those fangirls will be booking multiple trips. oh no, i though you might be right! perhaps i need to find £75, or £25 and some binoculars..!
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Post by JJShaw on Apr 13, 2018 10:09:11 GMT
would have booked today (despite the casting) if the prices weren't so high. £5 in previews for third row on the end for The Wild Party, and nothing below £25 for the back row for this?! A little disappointed since the St. James Theatre was one of my favorites, while I'm super glad that TOP is making a name for producing lesser-known musicals (akin to Southwark Playhouse) it's a shame to see them pricing themselves so highly.
Despite clearly a large demand, lots of seats still left, I think I will wait for a discount code/todaytix, unless it begins to sell out!
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Post by JJShaw on Apr 13, 2018 10:05:08 GMT
This has been on my list to things to see for a while and Im so glad I managed to get to see this, what a wonderfully unique and bizarre new show. For all the critics banging on about needing to support new BRITISH musicals and then not recognizing this one in the major awards its so silly because this is the quality of new musicals that we should be expecting from ourselves if we want to compete with America.
Its so cohesive as a piece, knows exactly what it is and doesn't shy away from it but uses it as a strength. The cast (bar one for me) was amazing, the set and visuals for the show were great, I loved how it all extended into the audience.
I saw Caroline or Change the day before, and I would have appreciated a break in the music in that show because lots of it was repeated motifs that went on for just a little too long, making it sometimes seem repetitive, the sung though piece here never bored me and flowed effortlessly.
Hugely impressed, might try and catch it before it goes because I cant see it transferring again or coming back anytime soon, tragically.
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Post by JJShaw on Apr 13, 2018 9:37:46 GMT
I enjoyed the show and thought it was really well put together and thought the whole cast was really good! The show certainly benefits from an intimate venue, cant imagine what it was like in the Olivier. I hope it does well in its transfer but its quite an odd show to market and sell, even if I was asked to give a word of mouth review Im not quite sure how id describe it myself.
The only thing that bugged me a little was they changed calling her Caroline and Carolin just to fit the rhymes. The first time I thought it was funny, the rest I just wasnt sure if I missed something? The kids really were great, the staging of the piece was really good.
I too was struck a little confused at the ending it just... ended? But from reading previous comments maybe I didn't miss anything there, or maybe I did...
I was in N5 which I thought was an absolute steal for £10, probably one of my favorite seats ive ever had in a theatre!
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Post by JJShaw on Apr 9, 2018 22:24:43 GMT
Overall I think it was a successful year for the Oliviers, a shame that Romantics Annonymous and Grinning Man got shut out (its always nice to see as many new eligible shows get nominations if they are worthy and I think the consensus is that they are)
While Hamilton picked up the most awards it doesnt feel like it did a complete sweep like Matilda and Curious Incident (and Potter) did in their years. Surprising to hear their performance isnt wowing people like it did on the Tonys? Im surprised they've won olivier and tony for choreography when i just remember a lot of knee sliding when i saw it?
I was really hoping that John would pick up best actor for Jamie, I really think he deserved it (im actually surprised the Oliviers didnt show, Jamie, any love since they're always banging on about NEW BRITISH MUSICALS and yet one comes along that isn't a flop (Mrs Hendersons Presents, Made in Dagenham, Bend It)) I also thought Andrew Garfield really had it in the bag for Angels (I hadn't seen the other performances so cant compare but I thought he was transformative)
I expected Young Frankenstein to sadly walk away empty-handed, perhaps if Ross Noble was still in the show I thought he could have snagged his award if Hamiltons 3(!!!!!) nominations split the vote. Whyyyyyyy was five guys named moe no in the musical revival category? did we debunk that?!
I like that we have dance and opera awards, im not hugely clued in into their worlds but i like that we recognize them!
No doubt Bat out of Hell will do very well next year.
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Post by JJShaw on Mar 21, 2018 23:51:36 GMT
I really enjoyed this show, felt like something unique and different with the staging in the beautiful empire cinema! it really is gorgeous!
I loved all the performances and really liked how t piece was put together, not 100% sure with them sometimes sitting in the audience before joining the action, didn't quite get the link or framing device behind that but it didn't detract (in fact I was sat right behind the two seats the actors use for that!)
speaking of seats I did the todatix rush (which wasn't a rush at all you could get tickets for the evening show at 6pm) and they are all in row B I think and if you get the centre block then its a fine view. Close but not too close.
TheatreMonkey, if there's an award for the worst ushering job this year it has to be for the poor girl who basically has to reseat the first three rows because "during the refurbishment, they put the seats back in the wrong place and haven't sorted it out so the numbers aren't in the right order" bless her!!
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Post by JJShaw on Mar 20, 2018 14:06:28 GMT
i just booked a lucky dip seat, decided to chance my luck rather than getting a high seat chair row N side view. I'm looking forward to the show i think its the prefect venue for this type of show!
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Post by JJShaw on Mar 17, 2018 23:50:26 GMT
Hope this hasn't been asked already, at the end of most performances I've seen at the Royal Court the actors typically raise their right arms, possibly towards the balcony, as if in thanks to something/someone. I'm pretty certain I've seen it in performances at other theatres as well. Any ideas ? usually to gesture to a technical box at the back that is a symbol for all the crew that work on the show too. Since they cant come down and take a bow as they are all operating things but are just as important to the show.
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Post by JJShaw on Mar 7, 2018 23:59:50 GMT
Well I saw the matinee and thoroughly enjoyed it! All the positive word of mouth lives up to it, its great to see a new musical, especially one with its original cast! Interesting that there weren't many songs (or it didnt feel like it) and the book scenes were longer, but i liked that. the show flowed well and the performances from everyone were wonderful! If it wasnt up this year I think this would have swept up the awards ala Matilda. Original British Musical thats well rounded? Catnip for Oliviers! I hope it manages to grab a few, I do think John deserves leading actor for sure. Must make an effort to go back to this one. Saw it in December and bar one total bore of a scene and one that made me really uncomfortable, I really enjoyed it! It is probably the best New Musical I saw last year. Which scene if you dont mind me asking? Just curious.
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Post by JJShaw on Mar 4, 2018 12:06:02 GMT
Bradley Judge is always shirtless. Boom. Booked! its worth it!
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