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Post by notmymuse on Jan 31, 2017 23:43:57 GMT
Wow I LOVED THIS tonight!!! Chris Peluso - oh my god.... You must ALL see this.. I'm going again! When does he leave? May have to do a return trip too. Gorgeous.
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Post by notmymuse on Jan 31, 2017 17:32:17 GMT
Can't get enough of the cast recording for this at the moment. Bethany Huckle and Devon Elise Johnson's A Little Touch of Happiness is fast becoming a firm favourite but the whole score is so joyful, I love it. Really looking forward to seeing the show for a second time in June. I love A Little Touch of Happiness too. Long Ago and If the Rain's Got to Fall are also becoming favourites. I'm glad this is running a fair while. Still a shame Emma Williams doesn't get a better song...
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Post by notmymuse on Jan 31, 2017 12:51:11 GMT
At the risk of incurring anyone's wrath, I walked past the Pheonix on Saturday and was really pleased that it's now more visible and I liked the sunflowers.
On my first trip to the Phoenix years ago to see Blood Brothers, I had real difficulty finding the theatre as it had such a small sign and the frontage is on a narrow side street. I had passed it loads of times and had never realised a theatre was there and I thought it looked dark and sad.
Thanks to the sunflowers, it's obviously a theatre now. And the more shows that are successful (whether they are to my taste or not) the better theatre-land does in general. It's the people who come to London for a day to see a show who keep the West End going I'd imagine, not regulars like us.
It's sad to see dark theatres or theatres struggling because no-one knows they're there (like Charing Cross until recently), so the more visible the better.
Not sure if I'll go and see The Girls, but will wait for reviews first.
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Post by notmymuse on Jan 29, 2017 12:30:23 GMT
Hi all, I apologise if someone's already said this but even if so it's probably worth repeating. I just booked to see this at my local cinema (cineworld). Would have cost me £27 for 2 tickets.
However, if you search for "cineworld tickets" on ebay, you can commonly pick up 2 voucher codes for about £11-12. You then go onto the cinema webside, pay a £1 booking fee, use your voucher code and book. Total cost £13 rather than £27.
Some sellers promise to send your voucher code within 5 minutes (mine took 1 minute). Some voucher codes are also good for the central London cinemas (which can be £20 or so a ticket I think?) so massive saving available. I've done similar with Odeon/Vue/Picturehouse before too.
Really looking forward to this now! Last musical I saw in the cinema was Memphis and had a great time, so fingers crossed.
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Post by notmymuse on Jan 28, 2017 21:52:20 GMT
Saw the matinee today. Loved it. The score is more like Phantom and less like Titanic and must be the most lush score in London. Lovely song after lovely song. Music to get lost in.
And Chris Peluso. Wow. Utterly believable and what a voice. Someone cast him in something else, quick, before he goes back to the states!
It wasn't perfect and there were a few week moments (and the end was a bit sudden!) but it was such a nice couple of hours. If I was an actor, is just love to be in this and singing these songs...
I was also really happy to see the Charing Cross nearly full! It's usually not even half capacity when I'm there so I'm pleased this new model seems to be working.
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Post by notmymuse on Jan 20, 2017 13:27:47 GMT
Thanks for the reviews! Seeing it in a week so I'm excited now. I like Yeston's scores usually, his "Phantom" is well worth a listen, even if the voices on the recording aren't to my taste. His music tends to be quite lush but I prefer the Phantom score to Titanic, shame Phantom had such a short run in London a few years back (I can't even remember where I saw it - some upstairs pub theatre?). And I'm a fan of Thom too, so should be fun.
I went to see Umbrellas of Cherbourg a few years back, and the terrible moment happened when you're in an old theatre with a bad rake and someone really tall comes to sit down in front of you who you know will block your view. So I was predictably annoyed. When he sat down, he also had a giant head it transpired, which made matters work. And then he turned around and it was Thom! I went though about a year of seeing him almost everywhere I went.
I forgave him for having a huge head and being tall as he's directed some lovely stuff. His Carousel was beautiful, as was State Fair and many others. Can't wait for next week.
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Post by notmymuse on Jan 18, 2017 22:08:45 GMT
Emma would get me buying a ticket, so let's hope so! Although she's known for doing "new" musicals, I know she's auditioned for Glinda before so anything's possible... Her role in Half a Sixpence is no-where near as big as Glinda and she gets far more (and better) songs.
But I doubt it.
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Post by notmymuse on Jan 11, 2017 15:44:45 GMT
removing wed eve performance and adding a matinee on thursday to replace. wed night must not have been a good night for theatre goers haha strange though ive never seen a show do that before! Beautiful did this too. Added a mid week matinee and removed an evening show. The Woman in Black does Tues, Thu, Sat matinees. Inspector Calls does Wed and Thu and Sat matinees. Show Boat and Carousel did similar. It's not uncommon for shows where retired folk and coach parties and school trips make up a large % of the audience. Glad to see this extend. It's a fun night (or afternoon!) out.
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Post by notmymuse on Jan 10, 2017 11:42:56 GMT
Has anyone sat in row F of the upper circle? Looking for a cheap ticket for this but I'm not sure how annoying the rail in front will be. As TM says, the rail is annoying. But more than that, the way the theatre is designed means you feel so much more removed from the action in row F than row E. It's really quite a difference. Dymanic pricing means (or did last time I looked at booking) that cheaper seats in row E forward do come up, so keep looking )
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Post by notmymuse on Jan 5, 2017 17:17:48 GMT
Interesting topic, and a complicated one. I've seen some amateur companies do a great show, then turn around and do a terrible one following.
Here in Birmingham the two companies that tend to be good are BMOS (Birmingham Musical and Operetta Society I'm guessing it stands for) and Bournville Musical Theatre Company. They are both harder to get into as they are considered to be the best so usually have waiting lists and can be more selective. But they all tend to vary over time. If an Am Dram society says it has a waiting list to get in, or competitive auditions, you can usually be sure it'll put on better shows.
Drama School productions are usually worth a punt. Arts Ed in London is usually decent and they put on things you can't see elsewhere sometimes. LIPA in Liverpool similar.
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Post by notmymuse on Jan 5, 2017 10:27:14 GMT
Just got the new brochure through from the Belgrade in Coventry and noticed this for the first time, also playing at Stratford East from 1st Feb: www.stratfordeast.com/whats-on/all-shows/the-bubbly-black-girl-sheds-her-chameleon-skinAm considering seeing it in Coventry (where it moves to after Stratford East) so if anyone sees it in Stratford, please post a review to let me know if it's worth it or not! Although for £20 may just take a punt anyway. The cast recording is on Spotify and sounds interesting.
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Post by notmymuse on Jan 2, 2017 9:19:31 GMT
I'm so pleased with this show... not just becsuse it is a great show overall, but because they stuck around when they didn't hafe a big advance at all, let the reviews come out, promoted the show hugely and it seems to be working and getting more and more people in. I'm not so sure. The theatre only seats about 850 and with a cast this size to only be playing at about 90% at Christmas is not great - especially when this has been discounting heavily since it opened and given the advertising that seems to be behind it. I really enjoyed the show and am still enjoying the soundtrack, and if Cameron subsidising it means more people can see it, then I'm not going to moan! I'm also glad Emma W got to be in something in the West End that has had a half decent run.
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Post by notmymuse on Dec 24, 2016 13:36:31 GMT
I think AmDram is as much to thank for G+S continuing to be well known as anything else. I was never a big fan of D'Oyly Carte productions, despite Valerie Masterson singing beautifully. But most cities seem to still have G+S societies and some AmDram groups are doing more G+S - as costs of mounting even amateur productions rise, G+S are an increasingly popular choice as there are no royalties to pay, so breaking even becomes more do-able.
What I've found really interesting over the last decade is how G+S have begun to be performed more by companies known for musicals, in the style of musicals, rather than by opera companies so much. Some of the acting by D'Oyly Carte was shocking, and musical theatre actors have been able, for me, to draw far more from the characters and to make the productions more rounded.
There have been fringe productions (Union, Tabard, Rosemary Branch, Finborough, Charnig Cross, Wilton's spring to mind) of many G+S shows over the last few years, many of which were excellent. I believed the characters more than ever before, and the productions were such fun. Its been a real joy hearing some lovely voices sing the songs too Without such vibrato as the opera productions use. Kevin Kyle (I think he was in the Mikado), Rebecca Caine as Katisha and whoever was at Wilton's in pirates spring to mind. Kevin Kyle has a lovely CD out which is well worth a listen.
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Post by notmymuse on Dec 22, 2016 13:38:24 GMT
Flowers for Mrs Harris, hands down. I'm praying for Daniel Evans to bring it to Chichester then, perhaps, the West End.
Honourable mentions to Side Show, Show Boat, Sunset,Titanic and Toxic Avenger.
Seeing all the positive comments, I'm sad I missed Groundhog Day even more now!
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Post by notmymuse on Dec 20, 2016 23:25:43 GMT
The three musketeers. Made it to Kingston but not WE
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Post by notmymuse on Dec 20, 2016 20:05:26 GMT
The Light in the Piazza.
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Post by notmymuse on Dec 14, 2016 11:10:45 GMT
I am not sure. I remember Paul telling me that the fading away illusion was the first time it had been done in a very long time and the whole set had to be designed around that moment (it' not in any tour of the show, sadly) Here's a televised version of it: The effect in LOTR may've been a smaller version of it done by Paul. Elphaba's flying is weak - it was also done in Joseph in the early 90s, so it's nothing amazing. The reason it works, much like the helicopter, is that it happens at the emotional high point in the show so, like all good magic, the story itself is 80% of the effect! I do like the paper plane trick in Charlie - if you're sat very close to the stage you can see how it's achieved, but it always takes people by surprise and, again, works in the emotional moment of the show. It's ironic that it's the best magic trick in the piece, really... It was indeed Pepper's Ghost used in LOTR, very effective (although the night I went the glass wobbled so ruined it slightly). I remember the first time I saw LOTR and Bilbo vanish. I literally couldn't believe my eyes. Thought about it for days afterwards. They vanished Frodo later too, but in a "end of Phantom of the Opera" kind of way. LOTR also gets points for the Lothlorein scene, and the bit where Galdalf faced some red creature or other on a bridge and for the rising revolves.
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Post by notmymuse on Dec 11, 2016 0:25:13 GMT
Paul Zerdin is hilarious. A panto regular around the country. Gets rave reviews wherever he goes.
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Post by notmymuse on Dec 10, 2016 15:44:23 GMT
In the NT production of "The Designated Mourner" directed by Sir David Hare, Mike Nichols read all his lines off a teleprompter every night because he couldn't learn them. So we needn't get too sniffy about panto. At a preview of Anthony and Cleopatra at the NT, I was near enough to the front to hear how often Alan Rickman was prompted There's a Simon Brett novel where an actor has to be fed all his lines through a earphone masquerading as a deaf aid (in the radio version, the elderly thesp was Leslie Philips). Anyone know if this really happens? Yes, occasionally. There was an incident or other last year (was it the Old Vic?) where one of the actors had an ear-piece all through previews but I think it was ditched by press night. It's happened on Broadway with some celebs in recent years too. To be honest, I'm not sure what the fuss is about. I saw My Fair Lady at Sheffield Crucible a few years ago, and Dominic West struggled with the lines in one of the songs, and apparently had done so a few times. He probably got nervous as the song approached each time which made it worse. Now, few of us would have been close enough to see if he had an ear-piece in or not, and I'd rather someone be relaxed and confident enough to give a good performance and them wear an ear-piece than them be jittery and then forget lines. I mean, they all wear microphones and burst into song and dance, so it's hardly hyper-realism to start with. Re: Stacey, I just read the article and she went on stage less than 24 hours after arriving in the UK on a plane from Australia. Knowing where to stand when that jet-lagged and wearing the right costume and knowing the songs at all seems to me a pretty impressive achievement. I would question the greed/wisdom of the scheduling someone to appear in anything with that little preparation (and how fair or respectful that is to the paying public) but all the same.
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Post by notmymuse on Nov 29, 2016 0:41:28 GMT
I'd probably pay to hear Rosalie Craig sing pages from the phone book so I'm just happy she's going to be back on stage before long! Such a lovely voice. I remember hearing her sing Love Is Like An Aubergine years ago (no, really) and she even made that sound grand.
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Post by notmymuse on Nov 26, 2016 14:06:38 GMT
I've been surprised by how good some celebrities have been when I've got there in the past, but I'm really not sure about this.
Carousel is a hard show to sell to modern audiences. It's hard to pull off without seeming hopelessly dated and offensive. You need actors who can find and portray real nuance and depth, not just read the words. I certainly couldn't and I'm not sure how many people without loads of training or experience could.
I saw the Lesley Garrett production at the Savoy a few years back. I really didn't enjoy it, and she struggled.
I nearly didn't see Thom Southerland's production in the Broadway at Catford shortly after because of the Savoy's. Yet it was a league apart, done on a shoestring budget. The actors found so much in the script if never noticed, and created great characters. They'd all gone to stage school and had a degree of experience and were cast on ability.
So I won't be going. If ENO insist on this kind of casting, they need to pick an easier show which demands less of the cast. Or pick opera singers who are great actors.
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Post by notmymuse on Nov 24, 2016 21:17:32 GMT
Anyone know where I can get the revival Cd? I have the original cast album eBay has loads
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Post by notmymuse on Nov 22, 2016 0:30:10 GMT
Lisa Stokke is Norwegian I think. Starred in Mama Mia and The Baker's Wife.
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Post by notmymuse on Nov 21, 2016 19:50:29 GMT
I loved this. I know many others didn't, but I loved the mood, the projections and the songs. Happy memories. A revival would be great!
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Post by notmymuse on Nov 18, 2016 18:55:57 GMT
5* What's On Stage, v positive write up in the Telegraph. Haven't seen any others yet.
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