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Post by BurlyBeaR on Nov 11, 2023 18:18:53 GMT
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Post by max on Nov 11, 2023 21:13:58 GMT
It'll be interesting to find out what 'featuring a contemporary score' means. Presumably they mean contemporary to now, not 1930s. It's been a long while since a 'cockney musical' worked, and avoiding the 'Lord luv a duck' cliches sounds like a good move. Will be interesting to see if there's a 'now' frame that explains the music being contemporary, or if it just ....is; because it's been written 'now'.
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Post by stevejohnson678 on Feb 6, 2024 22:37:41 GMT
Somewhat surprised to see all the February dates and several of the March dates for this have sold out, with limited availability for the other performances, before this has even started its run.
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Post by Mark on Feb 16, 2024 0:32:24 GMT
Run is completely sold out. Certainly not used to that for shows at Southwark Playhouse.
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Post by zahidf on Feb 16, 2024 10:19:06 GMT
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Post by zahidf on Feb 16, 2024 10:20:38 GMT
Id guess based on its success so far, itll be moved to the larger Elephant and Castle venue later this year. Definitely a demand for it
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Post by Being Alive on Feb 16, 2024 10:44:11 GMT
I can't understand why this has sold out already when we know nothing about the quality of the work.
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Post by zahidf on Feb 16, 2024 10:54:35 GMT
I can't understand why this has sold out already when we know nothing about the quality of the work. Relatively small venue and people really like the concept i guess!
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Post by Being Alive on Feb 16, 2024 12:13:53 GMT
I can't understand why this has sold out already when we know nothing about the quality of the work. Relatively small venue and people really like the concept i guess! Sure, but Benjamin Button didnt become a sell out until after it opened (and that had a prior run, good word of mouth, and an Olivier award winning star in the lead) so I'm just...confused as to what's set the public's interested alight
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Post by nash16 on Feb 16, 2024 12:20:26 GMT
Relatively small venue and people really like the concept i guess! Sure, but Benjamin Button didnt become a sell out until after it opened (and that had a prior run, good word of mouth, and an Olivier award winning star in the lead) so I'm just...confused as to what's set the public's interested alight It has quite a specific target audience, which I think has guaranteed it selling well/out.
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Post by zahidf on Feb 18, 2024 14:16:20 GMT
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Post by nickel1997 on Feb 20, 2024 20:49:44 GMT
Has anyone seen this yet?
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Post by theatrelover123 on Feb 20, 2024 21:42:38 GMT
There was an audience tonight who saw it
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Post by nickel1997 on Feb 20, 2024 22:24:15 GMT
There was an audience tonight who saw it Correct and I was in it! Just wondering what people's thoughts on it were!
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Post by nash16 on Feb 21, 2024 0:48:10 GMT
There was an audience tonight who saw it Correct and I was in it! Just wondering what people's thoughts on it were! Are you part of the creative team? We’d love to hear YOUR thoughts.
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Post by ThereWillBeSun on Feb 21, 2024 0:57:58 GMT
LOL ^ 🫖
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Post by minion on Feb 21, 2024 1:03:27 GMT
What is the capacity at the Borough venue where this is playing?
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Post by Steve on Feb 23, 2024 0:16:35 GMT
Saw this tonight and very much enjoyed it. The second half (which has more developed and involving characterisation and more rousing songs) is better than the first half, which is more setting the scene, and has more nondescript songs. Part of setting the scene involves depicting a lot of unpleasant (but necessary) antisemitism, so if you're squeamish about that, beware. There are multiple song styles, some of which hit harder than others, with the rapping never hitting the heights its aiming for. The wonderful Debbie Chazen is underused (as is Jade Johnson, who sounds great), and doesn't get a proper character, which is a bit of a shame. Among a strong ensemble, who sound great together, Danny Colligan is a standout in a difficult main role, and Jez Unwin is terrific in support. Some spoilers follow. . . There have been lots of movies about Titanic, but the reason the James Cameron one is loved by audiences is that fictional DiCaprio-Winslet relationship, smack in the middle of it, as well as the drama they have with Billy Zane. Here, we usefully get the Titanic formula applied to the Battle of Cable Street, whereby Joshua Ginsberg's super-charming East End Jewish boy, Sammy meets Sha Dessi's Irish communist agitator, Mairead, and they both team up to oppose the British Union of Fascists's plan to waltz through Cable Street, protected by the police, while Danny Colligan's hopeless jobless impressionable English local boy, Ron, starts to get seduced by the Fascists (uh oh). . . Anyhow, the plot cleverly does not stop with the eponymous battle, and looks beyond it usefully. Pretty much the entire ensemble, bar the above named characters, play multiple roles of all sorts, including Fascists, which means two things: (1) no actor is typecast as an armband-wearing Fascist, which suggests (2) that anybody could be susceptible to Fascist ideas given the right circumstances. Mosley himself is never depicted, never given oxygen, rather it is the susceptibility of ordinary people to the manipulations of xenophobia, ancient hatreds, and a certain form of virulent Nationalism (eg "British jobs for British people") that is under the microscope. Thematically then, Danny Colligan's Ron is pivotal, and in the second half, he gets a really powerful song, "Shut Me Out," (I'm guessing song titles) where Colligan's impassioned soulful rendition of the song, moved me, and was a highlight, despite his character's villainy. As the heroic plucky lead character, Sammy, Ginsberg heroically delivers Lin Manuel Miranda levels of likeable energetic rhyming, but is let down by no memorable tunes following the raps. Sha Dessi is luckier in the song stakes, and her heroine makes like an anti-Marie Antoinette with an awesome delivery of a song that might be called "Bread." As Sammy's father, who pushes Sammy not to get involved in the Cable Street battle, Jez Unwin delivers so tenderly one of the most moving songs of the piece, "Words," in which he expresses his respect for rationality, as well as his pained disconnect with his son. There are quite a few forgettable numbers, unfortunately, in the first half, with the notable exception of the brilliant choral ensemble song, "No Passeran, Thou Shall not Pass." Debbie Chazen is cheated out of any great solos, though I loved her Jaws-reminiscent line delivery, where instead of needing a "bigger boat," she rather needed a "bigger rolling pin." The Hitler supporting Daily Mail gets it's much deserved and due comeuppance in a much reprised song, "Read all about it," which makes me look forward to their review lol. I felt that the first half was an average 3 stars, with too much history, not enough story, too few bangers, whereas the second half was a moving 4 stars, with more story, the right amount of history, and almost every song a banger. 3 and a half stars from me, which could improve with book and song edits. PS: Running time was as advertised, beginning 5 minutes late at 7:35pm and ending 5 minutes late, at 10:05pm, with one interval.
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Post by Mr Snow on Feb 23, 2024 13:22:31 GMT
Great review. Thanks for taking the time.
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Post by zahidf on Feb 27, 2024 16:30:22 GMT
Mainly 4/5 stars in the papers for this
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Post by max on Feb 27, 2024 23:19:42 GMT
Strong reviews in mainstream outlets, with some doubts shown more in the web-based reviewers and bloggers. I wonder why it's that way around. I saw it at the Sat matinee before the Monday press night, so these thoughts were written before seeing any reviews:
The piece does a powerful job stating that prejudice can hit all, and also that succumbing to being an oppressor can seduce all. Good to show it wasn’t only an iconic Jewish fight back - the message of alliances is loud and necessary; who could disagree with that right now? - it’s totally topical.
The price of that is that the musical voice of old Jewish East London is barely there; sad as it’s one we rarely hear, and one that’s fading in real life. Yet there’s space made for a Spanish guitar tinged song when they import the knowledge of the Spanish civil war cry ‘No Passeran/none shall pass’ as inspiration; and a post-battle celebration that has a Caribbean feel reminiscent of ‘Under The Sea’. It’s not that the Jewish characters don’t have stage time, but when they get to the heart of a family meal or ordinary daily ritual the action quickly cuts away to what the Irish or Northern English characters are up to.
Perhaps the idea is that by having the young Jewish protagonist rapping it shows he’s a radical beyond the understanding of his conservative father and pushes him ahead of the other characters in forward thinking radicalism. Except the rap just isn’t that cutting edge - unlikely to please an older audience (unless it makes them feel daring) and could be risible to a younger one. So the Irish female firebrand, and the northern lad turned fascist get to sing full out and impressive, while the Jewish musical voice has less urgency and agency. This changes a bit at the start of Act 2 when a Jewish inflected melody for the conservative dad is one of the stand-out moments, but that’s pretty much it.
More uses of Yiddish, and definitely more authentic East London accents and attitude would ground the piece. An older audience around me particularly enjoyed the few Yiddish phrases, and vocalised ‘yes that did happen’ at certain points (reminding me of the audience at Stephen Ward - there to mark a happening they know and cherish, more than to discover something new).
I didn’t get on with the framing device of the walking tour of today's East End - the piece isn’t short in duration so that kind of ‘get there fast by justifying exposition’ isn’t needed in the way it is for short pieces of TIE. I’m a bit bewildered by this trait in theatre generally right now - but I won’t go on about ‘Just For One Day’ ever again.
As it’s sold out at Southwark Playhouse it will definitely get a further life, but drawing an already motivated audience has probably been the best way to test it with a gentle reception, as a wider audience may bring a more harsh light on it.
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Post by stevejohnson678 on Feb 29, 2024 14:29:17 GMT
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Post by Steve on Feb 29, 2024 18:50:42 GMT
Strong reviews in mainstream outlets, with some doubts shown more in the web-based reviewers and bloggers. I wonder why it's that way around. Interesting observation. At a guess, it's that bloggers/web-based reviewers are more aligned with general audiences, mainly going by how much they enjoy a thing, whereas mainstream critics add or deduct stars based on values. For example, encouraging cultural assimilation, solving conflicts, coming up with original ideas, original ways of staging productions, and/or saving the planet, etc, could all be considered positive values that might get critics adding a star to their assessments, even though dispassionately audiences might bot be more entertained by those values. Similarly, applying tried and tested entertainment formulas might be perceived by mainstream critics as a negative value because it doesn't develop the art of theatre, even if it makes audiences happy. This might result in a star or two deducted from a perfectly entertaining show. In the case of "Cable Street," like the "Bend it Like Beckham" musical, or "The Scottsboro Boys," it might be perceived by critics as improving society, reducing racism, a positive value that goes beyond entertainment. For me, the most extreme example I saw of this phenomenon was Michael Billington's review of "2071," at the Royal Court, which he gave 5 stars: www.theguardian.com/stage/2014/nov/07/2071-review-urgent-call-history-royal-court-theatreThe show wanted to help save future generations from one of the most pressing problems of our time, climate change, and Billington gave the play his full 5 star weight. I agreed more closely with one of the more popular comments underneath his review, which included this assessment: "It was a lecture delivered by a man reading an auto-cue (hence no notes) with all the charisma of the diminishing ice-shelves he was describing." I don't think it's wrong that sometimes professional critics want to promote originality or save the world, but that's my guess as to why they sometimes promote productions that aren't necessarily the most entertaining, and also why, conversely, they'll slam a super-entertaining production that doesn't promote such values. Just speculation on my part, of course.
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Post by jek on Mar 1, 2024 10:46:58 GMT
I grew up just off Cable Stree in the 1960s and 70s. I come from an Irish Catholic family who came over in the late 1930s to work at the Ford car factory in Dagenham and became very involved in trade union activism (my aunt was one of the women who struck for equal pay and every so often archival footage of her turns up on TV). My dad left Fords to become a burglar alarm mechanic and his patch was the then very Jewish Whitechapel with its fabric wholesalers and jewellers. I grew up going out with my dad on his rounds and was possibly the only Catholic girl in Stepney who had a set of honorary Jewish uncles. My mum had, as a girl, lit many Sabbath fires for Jewish people for whom that was forbidden. Even in the 1970s the events in Cable Street were starting to be celebrated. So this should be right up my street (quite literally!) But the trailer is giving me Lionel Bart Blitz! vibes, which is not a good thing. If it goes on to a new life I will chance it as the Mark Lawson review suggests it moves on from 'Mockney', but I will steel myself for the bits that are pure 'diamond geezer'.
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Post by max on Mar 1, 2024 12:54:02 GMT
I grew up just off Cable Stree in the 1960s and 70s. I come from an Irish Catholic family who came over in the late 1930s to work at the Ford car factory in Dagenham and became very involved in trade union activism (my aunt was one of the women who struck for equal pay and every so often archival footage of her turns up on TV). My dad left Fords to become a burglar alarm mechanic and his patch was the then very Jewish Whitechapel with its fabric wholesalers and jewellers. I grew up going out with my dad on his rounds and was possibly the only Catholic girl in Stepney who had a set of honorary Jewish uncles. My mum had, as a girl, lit many Sabbath fires for Jewish people for whom that was forbidden. Even in the 1970s the events in Cable Street were starting to be celebrated. So this should be right up my street (quite literally!) But the trailer is giving me Lionel Bart Blitz! vibes, which is not a good thing. If it goes on to a new life I will chance it as the Mark Lawson review suggests it moves on from 'Mockney', but I will steel myself for the bits that are pure 'diamond geezer'. You've got a great history with the area - you'll have known Bloom's and their legendary salf beef sandwich then! If accuracy matters there couldn't be a better judge if you go when they bring it back. On the current version you needn't fear 'Cable Street' being 'mockney' - there's a lot of Irish accented and Northern English accented dialogue. The young male East End Jewish central character is most memorable for setting out his story and experiences through rap. While it's not 'mockney', (as mentioned above) I did miss hearing a genunine East London and old-London Jewish accent - thinking of Wesker and Kops. But I'll stand up a bit for 'diamond geezer' style if real and not put on. One of the memorable things about Ridley Road market (where Mosley's fascists were also pushed back) is market traders making the word 'flowers' last forever: 'flaaaaaaaas'. But I get why you'd wince if it's faked for 'cute cockney' effect when you've known it first hand.
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Post by jek on Mar 1, 2024 13:50:05 GMT
Thanks max. One of my great regrets is that I never recorded my maternal grandad who died aged 100 in 1992 and was a lifelong Eastender. He had spent most of his adult life - after years in the Merchant Navy - as a street trader in Club Row - initally dealing in caged birds (his Bethnal Green flat was full of them) and once that became illegal in TV's which he reconditioned for sale (causing many fires in his flat in the process). He had an almost Edwardian turn of phrase saying, for example, 'presently' rather than 'later'. I spent a lot of time caring for him in his dying days and so had ample opportunity to whip out a tape recorder but never did. I know precisely what you mean about Wesker and Kops (so sad to read of the latter's death last week). Another good example of that accent was the late, lamented historian of the East End Bill Fishman who was wonderfully encouraging to me when I was a politics PhD student. I was always more of a smoked salmon beigel fan than salt beef but I still miss Blooms whenever I am in Whitechapel! I will definitely try to see this production if it gets a new life.
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Post by zahidf on Mar 2, 2024 20:07:13 GMT
Liked this a lot today. Good songs and interesting subject matter. Felt very slick, a transfer of some sorts must be in the cards, even if its just in the bigger southwark elephant and castle venue
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Post by Mark on Mar 7, 2024 14:06:34 GMT
I enjoyed this a lot. I found the music overall to be very good (a rarity in a lot of new musicals sadly) and it felt cohesive even though there were several different styles. I really liked the story and agree with Steve's comparison to Titanic, you have some interesting characters here and all their stories are woven in very well into what happened on Cable Street. It also has the opposite of what many musicals struggle with, act two is unquestionably stronger with some really great numbers - it is the first act which needs some tweaks. I found some elements similar to shows like In the Heights and Paradise Square, in the essence of it is a story of the community.
I actually thought the show felt too "big" for Southwark Playhouse. This is the sort of show that with some work, and a visionary director, could look absolutely stunning in a bigger house, and could justify a cast of 20+ actors. I'd be curious how it might have looked had somewhere like the Almeida or Old Vic taken it on. I hope this show sees a future life.
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Post by capybara on Mar 7, 2024 22:25:19 GMT
There’s the genesis of a really good production here but it will need some fine-tuning before it’s inevitable transfer. Telling the story of 1936’s Battle of Cable Street, where Jews, Irish dockers, communists and trade unionists were among those to stand up to Oswald Mosley’s black-shirted fascists, Tim Gilvin and Alex Kanefsky’s new musical only really scratches the surface.
There are some intriguing stories to be told among the many fictional characters (expertly multi-roled by a talented cast) but, for much of act one, the piece is too scattered and the audience never really feels invested.
The score is pretty decent, with a variety of styles on display, but would benefit from some tighter lyrics. It is an energetic piece but does not always flow all that well.
That said, it is a promising start to Cable Street’s life. The fact it sold out its entire run and is now operating a returns policy speaks volumes about the interest in it. It is a fascinating show but needs refining on how to bring together so many stories centred around such a historic event.
The second act demonstrates what a force this show could become, although the final sequence doesn’t quite land. Nor does the framing of it being told through the eyes of a modern day walking tour. Lose that, there’s no need for it at all.
Three stars for me.
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Post by PineappleForYou on Mar 8, 2024 0:54:32 GMT
Saw this tonight and I agree with previous posters. There is definitely a beginning of a good show here but it needs some rewrites which I'm sure it will get.
The only bit I actively disliked was the climax on the roof which was confused. Spoilers but, three potential ways to kill one character is a bit overkill (pardon the pun) if you ask me! None of which happen as well. It also was badly paced which destroyed a lot of tension for me.
I would like to see more of the love story going forward as I wanted more earlier. Seemed the cutaways to modern day were a crutch to get some comic relief in there but I think some lighter moments could be achieved if the main characters actually spent more time together. They did have chemistry though so that was fine.
I do wonder if "man who becomes a fascist's" story might resonate harder if he and the lead already had a passing relationship at the start of the show. Would just make his transition to the alt right even more tragic especially if we're redeeming him at the end anyway. Just a thought.
Anyway, really solid cast and an energetic production. Some songs need another go but a couple of stickers. This will be back and no doubt will it be eyeing up a Mincemeat trajectory if those ticket sales are anything to go by.
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