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Post by mrbarnaby on Jul 10, 2023 12:13:09 GMT
I feel triggered by the trigger warning tbh
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6,359 posts
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Post by Jon on Jul 10, 2023 12:22:43 GMT
I would point out what Chichester has is content and themes which is not the same as trigger warnings.
There's no attacks on this production and it's frankly tiring that someone is trying to whip up controversy that simply doesn't exist.
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7,562 posts
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Post by alece10 on Jul 10, 2023 15:06:26 GMT
Does a trigger warning mean that there will be gun shots during the show? Is that the bit where the children are playing in the trees dressed in curtains and Captain Von Trap drives along and shoots them out of the trees or is that just my furtive imagination?
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172 posts
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Post by justsaying113 on Jul 10, 2023 16:57:34 GMT
This is now becoming farcical If (some) people can't cope with themes of life maybe they should just stay at home. Where does this end:
Evita = Fascism Miss Saigon/Pretty Woman = Prostitution Snow White = anti-dwarfs Macbeth = anti-Scottish Phantom = facial disfigurement Merchant of Venice = anti-Semitic The Ferryman = anti-Irish
...and on and on and on...
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Post by c4ndyc4ne on Jul 10, 2023 17:06:13 GMT
I would point out what Chichester has is content and themes which is not the same as trigger warnings. There's no attacks on this production and it's frankly tiring that someone is trying to whip up controversy that simply doesn't exist. agreed. what comes next: "Outrage after book has BLURB"
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664 posts
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Post by theatremiss on Jul 10, 2023 23:12:49 GMT
Saw it tonight. Beck was great as was Williams, Harrison warbled along like a nervous goat and I thought the set was rather uninspiring. I will confess itâs towards the bottom of my list of musicals I like, unlike my husband who loves it and has 3 more trips booked. I suppose itâs early days to be too overly critical, but it seemed to drag. 1hr 30 for act 1, then 1hr for act 2 for those that are planning travel etc. The show went up 5 mins late and it came down at 2220hrs
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Post by Deleted on Jul 10, 2023 23:51:09 GMT
All these trigger/content warnings. Used to be just an age limit if adult material or for flashing lights/gun shots etc.
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145 posts
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Post by meister on Jul 11, 2023 9:44:49 GMT
Was also there last night. Problem for me is that the film is so ingrained that whenever they burst into song the same scene from the film played in my head! It is so well known that there is no dramatic jeopardy and therefore, for me, it dragged. Agree that the set was rather drab and slowed the action. Children were well drilled though although Captain Von Trapp lacked charisma
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Post by mrmushnik on Jul 11, 2023 10:39:12 GMT
Disappointing. It lacked both pace and humour. Very long first half that was only saved by hearing Janis Kellyâs wonderful rendition of CEM. The acting throughout just flatlined for me, with no jeopardy. Thought the direction was very basic BUT the music was glorious as you would expect with Gareth Valentine at the helm. As has been said, the children were well-drilled but there was little magic and no moments when my heart soared. Felt Maria was too old even though she had a lovely presence and rapport with the children. Captain just barked most of his dialogue and there were many moments I found him inaudible. Maxâs diction was as poor and he wasnât the fun uncle figure he should be. I always enjoy the stage version of this show for itâs darker moments but thought it was directed by someone slightly out of their depth. The audiences will love it, Iâm sure but for me it isnât worthy of a transfer.
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Post by Deleted on Jul 11, 2023 13:40:30 GMT
My mum always said after seeing the film, the stage version never seems as good but she still enjoyed it a couple of times I took her to see it.
Gina is nearing 40 so possibly on the older side but wasn't the legendary Petula Clark nearly 50 when she played the role. Dame Julie was 29/30 when the film was made and Gina can pass for younger. Once the girl playing Liesl was older than the actress playing Maria in one production I saw but the Lisel actresses could pass for much younger.
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691 posts
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Post by sophie92 on Jul 11, 2023 20:13:19 GMT
My mum always said after seeing the film, the stage version never seems as good but she still enjoyed it a couple of times I took her to see it. Gina is nearing 40 so possibly on the older side but wasn't the legendary Petula Clark nearly 50 when she played the role. Dame Julie was 29/30 when the film was made and Gina can pass for younger. Once the girl playing Liesl was older than the actress playing Maria in one production I saw but the Lisel actresses could pass for much younger. In the 2013 Regentâs Park production, Faye Brookes who played Liesl is a few years older than Charlotte Wakefield who played Maria.
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Post by FairyGodmother on Jul 11, 2023 20:39:26 GMT
That's a shame. I was hoping it would be good because the last tour I saw was not good.
The Reverend Mother forgot to come in at the beginning of Climb Every Mountain, Captain von Trapp spent a lot of time staring broodily into the middle distance then saying his lines as if he were reading off a board at the back, and Rolf was so camp I don't think Liesl would have had much chance even without the Anschluss!
Fingers crossed it's just early wobbles.
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j85
Auditioning
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Post by j85 on Jul 14, 2023 11:53:04 GMT
I went to see it a couple of nights ago. Iâve only seen one amateur production in the past (and most of the film) so knew most of it in some way or another. Felt this production managed to convey the different settings well, but changes were a bit lengthy (which with time will shorten Iâm sure). Having read the programme essays, itâs difficult to see an age gap between Maria and the captain, but if youâre unaware thereâs meant to be one then itâs not an issue. The kids were great - a healthy level of sweet and bratish at times, and they were confident in their roles which, considering itâs in previews, is great to see.
My biggest annoyance, and this was the same with last yearâs Crazy for You is that itâs been directed for a transfer and not necessarily for the CFT stage. Itâs all performed out to the front - and even this isnât to the front, but mainly to one diagonal area of the audience. Iâm not sure how to post a pic to show where itâs performed out to, but you ideally want to be sat in the areas around Door 2 and Door 4 (looking at a seating plan, facing the left diagonal of the point of the stage). In the production shots that have been posted, this is facing the big round steps coming off the curve. Maybe this will have changed a bit, as the night I was in, I noticed the director coming out a door that led to the other side of the auditorium - but I doubt itâll have changed massively. Thereâs also a huge wall that shows the abbot that comes out the back wall that looks like itâd block your view being on the other side of it.
It went down very well with the audience - much better reception than Assassins did when I went on the last night of that (and much fuller than assassins was) and I fully expect critics and the typical CFT audiences to be happy with it too. Worth a visit, but not the best thing Iâve seen this summer.
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2,275 posts
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Post by theatreian on Jul 14, 2023 12:29:41 GMT
the legendary Petula Clark nearly 50 when she played the role. You are quite right Petula was 49 :Petula did not return to legitimate theatre until 1981, starring as Maria von Trapp in The Sound of Music in the West End of London. Opening to positive reviews and what was then the largest advance sale in British theatre history, Clarkâproclaimed by Maria Von Trapp herself as "the best Maria ever"âextended her initial six-month run to 13 to accommodate the huge demand for tickets[23][54] and receiving a Laurence Olivier Award nomination for Best Actress in a Musical.
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260 posts
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Post by emsworthian on Jul 14, 2023 12:53:43 GMT
There seems to be a divergence between the generally negative reviews on here and the overwhelmingly positive comments about it from audience members on twitter. I'm going next week so I'll ledt you know what I think.
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18,873 posts
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Post by BurlyBeaR on Jul 14, 2023 14:26:09 GMT
Donât forget to record your score in our poll if youâve seen it!
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Post by c4ndyc4ne on Jul 15, 2023 12:40:19 GMT
There seems to be a divergence between the generally negative reviews on here and the overwhelmingly positive comments about it from audience members on twitter. I'm going next week so I'll ledt you know what I think. I do think people are less compelled to say mean things on Twitter where casts also regularly interact + read things. At least here thereâs more anonymity.
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Post by toomasj on Jul 15, 2023 17:44:49 GMT
Travelling home from this afternoonâs matinee performance.
I absolutely loved this sparkling production. As a fan of the movie, before today I thought the stage treatment simply wasnât for me. I was left cold by Connie Fisher in the West End and subsequent tour (a miscast Jason Donovan didnât help matters), but Iâve completely changed my view thanks to this warm and heartfelt version.
It is true that show is greater than the sum of its parts. The set is efficient and âgets the job doneâ without being spectacular, the direction is sturdy and faithful rather than revolutionary. Projections are used very sparingly; thereâs a trapdoor, the usual and expected use of the auditoriumâs entrances, a couple of trucks on tracks - nothing earth shattering. I did have a little quiet giggle as Mother Abbess was raised up in her chair through the trapdoor, I donât know why but it reminded me of Rocky Horror or something. A bit silly looking!
Where it truly shines is in a very strong cast, led by Gina Beck, who in my view is Britainâs finest musical theatre leading lady.
Beckâs Maria is genuinely warm. At times funny, vulnerable, beautiful and frightened, she acts the part magnificently. The real magic happens of course when she sings; and she sings the hell out of these famous classics with style, her soaring soprano and no small amount of power.
I was a bit concerned at first by a very shouty couple of opening scenes from Edward Harrisonâs Captain von Trapp, but by the end I was absolutely sold. Harrison isnât an amazing singer by any means, but he holds his own and his characterâs arc was beautifully realised by the actor. The childrenâs cast (and Liesl) were wonderful, as was the ensemble, with strong work by the ever reliable Wendy Ferguson, the underrated Emma Williams as Elsa and of course Janis Kelly as Mother Abbess, who absolutely nailed âClimb Evâry Mountainâ to a massive ovation.
The first act is very much front-loaded with classic songs; I had forgotten how old-school the transitioning into musical numbers is in this - and other classic musicals. Itâs not an issue for me, but it might be jarring for some to have musical numbers with literally no purpose in the plot. Thunderstorm? Better sing a completely unrelated song! The second Act uses a lot of reprises, and the ânewâ songs are forgettable - but âEdelweissâ is beautifully staged, so it all pays off in my view!
For balance, a couple of nitpicks; the set changes looked a touch messy and couldâve been quicker and tighter in my view. Ako Mitchell didnât work as Max - on many levels - and his motivations and actions are muddied and muddled due to the nature of the casting decision. His diction also wasnât the best, although he did win a few laughs. As said above, the show is somewhat front-loaded and the second Act doesnât introduce many new melodies. Some of the direction is hamstrung by the CFTâs stage arrangement, and central block is definitely the place to be. But none of these are major gripes.
The audience - surprisingly enough given its reputation - were absolutely electric at the performance I attended. Whooping, cheering and huge applause for many of the strongest numbers (âThe Lonely Goatherdâ, âClimb Evâry Mountainâ and several others). A huge spontaneous standing ovation immediately on the final blackout was very telling. The audience absolutely loved this. This afternoonâs performance was described as sold out by the theatre, and I didnât spot many empty seats.
If I were a betting man, I would âget on hugeâ for this to transfer into the West End. It is an absolute banker, the set can go into a mid-sized venue as is. The question would be whether Gina Beck would be willing to work in town 6-8 shows a week. I suspect a transfer might hinge on this.
One of the easiest 5*s Iâve given. It doesnât reinvent the wheel, but it is extremely faithful, honest and staged with love.
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Post by capybara on Jul 15, 2023 18:00:25 GMT
Got a double show day of this and Rock Follies coming up next month.
Canât wait.
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Post by theatrelover97 on Jul 15, 2023 18:04:41 GMT
I am not sure if it's normal pre reviews but it is not selling that well except for matinées. Lots of seats still available. Would that affect it's transfer chances. Looking forward to going later this month.
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1,316 posts
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Post by tmesis on Jul 15, 2023 22:20:27 GMT
Saw the matinee today and absolutely loved it. This is the third production of S of M Iâve seen and definitely the best. I liked Edward Harrisonâs portrayal of the Captain and, unlike some, I found his voice attractive. Janis Kelly (an opera singer I loved in her prime at ENO - she was a terrific Butterfly) had the necessary heft for Climb Evâry Mountain and brought the house down, as she is meant to at the end of Act 1. The children were all excellent and their concerted harmonic singing was very accurate (and in tune) - not always a given! Also some beautiful singing from the nuns at the start - what clever pastiche religious music Rodgers writes here - in fact the whole musical made me in awe at his incredible talent; no other composer has quite his rich fund of melody.
Oh and Gina Beck was the best Maria Iâve seen - she made it completely her own; all others Iâve seen have not so much played the part as played Julie Andrews playing the part.
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Post by Deleted on Jul 16, 2023 2:55:43 GMT
If I were a betting man, I would âget on hugeâ for this to transfer into the West End. It is an absolute banker, the set can go into a mid-sized venue as is. The question would be whether Gina Beck would be willing to work in town 6-8 shows a week. I suspect a transfer might hinge on this. One of the easiest 5*s Iâve given. It doesnât reinvent the wheel, but it is extremely faithful, honest and staged with love. Gina has done lots of shows and was doing South Pacific on tour within the last year so a West End transfer as the star of the show would be a no brainer IMO. If the vocal demand would be too much to do 8 shows over a longer West End run then maybe Emma could get the chance to do a couple of the shows and finally play Maria in the West End with her understudy doing the Baroness for these performances.
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Post by toomasj on Jul 16, 2023 19:36:26 GMT
If I were a betting man, I would âget on hugeâ for this to transfer into the West End. It is an absolute banker, the set can go into a mid-sized venue as is. The question would be whether Gina Beck would be willing to work in town 6-8 shows a week. I suspect a transfer might hinge on this. One of the easiest 5*s Iâve given. It doesnât reinvent the wheel, but it is extremely faithful, honest and staged with love. Gina has done lots of shows and was doing South Pacific on tour within the last year so a West End transfer as the star of the show would be a no brainer IMO. If the vocal demand would be too much to do 8 shows over a longer West End run then maybe Emma could get the chance to do a couple of the shows and finally play Maria in the West End with her understudy doing the Baroness for these performances. Hello. I was referring to Ms. Beckâs personal circumstances, meaning eight shows a week in London may not suit her other responsibilities. I do not discuss actors private lives when outside of the public domain but it is public knowledge that she has two young children and role-shared in South Pacific with Alex Young to facilitate a healthy work/life balance. (https://www.sussexexpress.co.uk/arts-and-culture/theatre-and-stage/south-pacific-role-sharing-after-happy-pregnancy-news-at-cft-3250442) I was making a point that the performer may not want to live and work in London performing a gruelling eight shows a week due to her private life. Naturally I support and respect whatever she chooses.
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4,513 posts
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Post by Being Alive on Jul 16, 2023 20:06:59 GMT
She role shared with Alex Young because she was pregnant before starting rehearsals (and essentially I think did the show until she was 7 months pregnant) - it wasn't for any other reason.
The following year she then went on tour with the show for 5 months.
I think she'd manage a London run just fine - in fact it would be easier than what she's already done.
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Post by Deleted on Jul 16, 2023 21:10:22 GMT
Thanks Being Alive for confirming why Gina shared the role in South Pacific. I'd suspect that a West End run would probably be easier for a working mum like Gina if she is based in London but if her children are still pre-school age they would be "portable" in theory.
But a lot would depend where the performer is based. Thanks for posting the link Toomasj, I'll take a read of the article.
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Post by 141920grm on Jul 16, 2023 23:04:01 GMT
portable đđđ
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Post by theatrelover97 on Jul 18, 2023 12:23:36 GMT
There seems to be a divergence between the generally negative reviews on here and the overwhelmingly positive comments about it from audience members on twitter. I'm going next week so I'll ledt you know what I think. That seems to be reflected in the critics. The locally based ones are very positive while the London based ones less so.
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4,513 posts
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Post by Being Alive on Jul 18, 2023 12:31:57 GMT
Telegraph, Stage, Evening Standard all 4s...
Without a soaring tenor as Von Trapp (Ovenden), SOM is probably a 4 star musical if you don't try to reinvent the wheel, which they evidently haven't.
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Post by SuttonPeron on Jul 18, 2023 12:47:09 GMT
Von Trap is a baritone role though... Let baritones have their roles too! Though Ovenden wouldÂŽve been marvelous.
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Post by shorn on Jul 18, 2023 12:47:20 GMT
Whatsonstage is 3 stars and seems to reflect comments here
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