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Post by Mr Wallacio on Jul 1, 2016 12:23:24 GMT
This begins tonight. Anyone going?
I'm at the evening show tomorrow evening
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Post by alece10 on Jul 1, 2016 16:02:16 GMT
This begins tonight. Anyone going? I'm at the evening show tomorrow evening I am there tonight
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Post by Mr Wallacio on Jul 2, 2016 18:55:32 GMT
In the theatre. First thoughts......interesting staging.
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Post by artemis on Jul 2, 2016 22:36:10 GMT
This was mind numbingly boring. If this didn't have Sondheim's name attached I don't see why anyone would revive it. Just awful.
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Post by Mr Wallacio on Jul 2, 2016 22:57:26 GMT
It had an air of Pie Shop Sweeney to it, small cast alternating roles.
I didn't find it as bad as artemis seems to have though. It's stripped back. However unlike Sweeney, which can work in both big productions and small ones, this show probably needs the big showing.
I don't have much to compare this production to though having seen this and an amateur uni production.
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Post by Deleted on Jul 2, 2016 23:07:55 GMT
I have no desire to see ITW again for a very long time, but it would be such a shame if someone's first production of ITW is a bad one. I think it's a beautiful, funny, sad, heartwarming show and can be SO good with the right production.
This totally stripped production has zero appeal.
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Post by bellboard27 on Jul 2, 2016 23:18:39 GMT
Agreed - not a great production. Too stripped back for me. The second half was particularly boring. However quite a few of the audience seemed to like it.
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Post by foxa on Jul 3, 2016 0:00:20 GMT
That's a shame. It did incredibly well in the U.S. This Ben Brantley review has a clip of one of the actors singing 'Giants in the Sky' and Brantley is very enthusiastic about the production (http://www.nytimes.com/2015/01/23/theater/into-the-woods-stripped-down-by-fiasco-theater.html?_r=0) but things don't always travel well. I've booked to see it in a couple of weeks. The word 'boring' is making me feel a bit trepidatious.
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Post by Phantom of London on Jul 3, 2016 0:13:48 GMT
The New York Times loves anything by Stephen Sondheim, their former art critic Frank Rich practically conceived him.
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Post by Deleted on Jul 3, 2016 14:35:55 GMT
Oh dear - I'm going in a couple of weeks as I usually like the stripped down versions of Sondheim, but I am going with two friends who may not if it is a lacklustre production.
Never mind - a nice meal in the restaurant as well so hope that makes up for it if they don't like the show.
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Post by hatfinisher on Jul 4, 2016 10:28:39 GMT
I very much disagree with the negative opinions above! Yes it is stripped down, but it is done in a very clever way and absolutely not to the detriment of what is the core message of this show. On the contrary, by making things with simplicity and ingenuity, by not using any sort of special effect, everything works towards engaging the audience's hearts and minds.
This show is about the importance of sticking together as a community and, as such, working together for a common goal in the face of adversity. Seeing how tight this company is, how everyone is making the show work without ever being able to hide behind any coup-de-theatre, but really always being on their toes and constantly on stage... well, that for me definitely adds to the power of the show. The incredibly essential way "No one is alone" is staged, with the very truthful sorrow in Jack's voice and all the sensitivity in the Baker's attempt at consoling him... the mother/daughter connection developing between Cinderella and Little Red... oh, that got me teary eyed!
There's plenty of talent in the cast, I don't think I've ever heard the Baker's part sung so beautifully and there's an understated quality permeating the singing, in general. Thank god, it is not about showing off, hitting the highest notes or sounding big all the time (which is, at times, a flaw of some musical theatre productions), but really about telling the story here. It's very human, very real... so I'd really encourage people to go see it, suspend your disbelief and give yourselves permission to look at it with the eye of a child.
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Post by mrbarnaby on Jul 5, 2016 6:58:24 GMT
This looks and sounds just horrible.
I was hoping the trend for seeing musicals ruined by compromising on vocal and acting ability just because someone can play the trumpet had died off. Clearly not.
Who's even in it? No cast list anywhere.
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Post by Cardinal Pirelli on Jul 5, 2016 8:53:56 GMT
It's an ensemble. You know, no stars, a group of people, not sold on names. I get fed up of glitzy productions which hide a paucity of directorial ideas so very much looking forward to seeing this on Saturday. Will hopefully report back if not too busy (trying to catch The Go Between on the same day which will be an interesting comparison).
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Post by BurlyBeaR on Jul 5, 2016 10:49:33 GMT
In the ON production in Leeds last week we had life-sized giants, huge sets, princes on swings, projections and fab singing. Just sayin'
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Post by littlesally on Jul 7, 2016 22:43:43 GMT
Having seen (and loved) the Donmar and Regent's Park productions I approached this with trepidation bordering on dread!
I was so wrong. It is absolutely delightful and doesn't put a foot wrong. Simply but cleverly staged and heartfelt throughout.
Very different from the other two productions but it had to be to stand out so much.
Highly recommended!!
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Post by foxa on Jul 8, 2016 7:51:09 GMT
Good to hear - I'm there tonight.
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Post by profquatermass on Jul 9, 2016 12:29:00 GMT
I loved it. I've seen at least a dozen ITWs going right back to the original London one with Nicholas Parsons as the narrator and I thought this was excellent. Lots of doubling but what's wrong with that?
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Post by foxa on Jul 9, 2016 14:15:37 GMT
I too enjoyed this. At first I worried that it was going to be too stripped down (the music seemed tinny and under-powered in the beginning) and too self-consciously Brechtian (when the cast came out pre-show and began checking their props, the audience went quiet and one of them had to turn and say 'No, no we're not starting yet, carry on talking, we just....' Then there was some awkward talking to the audience bits that didn't entirely come off.) But as the first act went on it gained power - there was some very clever staging - a piano on a platform which could serve as a revolve, shadow theatre especially effective for the hard-to-stage grandmother/wolf parts, some witty choreography. Best of all, were Ben Steinfield as the Baker and Emily Young as Red Riding Hood and doubling as a crazed Rapunzel. Instead of the common Baker as nerdy loser, Steinfield played the part with a wonderful sincerity and depth. He also, along with the actor playing Jack, had one of the best voices. The sharing of the narration and the multi-rolling worked, and the stripped back approach paid dividends in the more minor key second act. A couple of the performers' voices sounded a little tired and tight, Prince Charming/Wolf in particular, but there was some great ensemble work.
It's long - it begins at 8 and we weren't out until 10.40, but we really enjoyed it. 4*
P.S. We had dinner beforehand and highly recommend the hazelnut meringue.
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Post by Honoured Guest on Jul 9, 2016 15:51:46 GMT
P.S. We had dinner beforehand and highly recommend the hazelnut meringue **. ** WARNING: May Contain Nuts
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Post by Deleted on Jul 10, 2016 9:57:23 GMT
I too enjoyed this. P.S. We had dinner beforehand and highly recommend the hazelnut meringue. I am glad to see a few more positive reviews coming though. Think I am likely to enjoy it, and hope my friends do too, but if not there is that hazelnut meringue to look forward to.......
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Post by Cardinal Pirelli on Jul 11, 2016 9:33:45 GMT
I also enjoyed it. Very much so. Here you have a true community, so much so that there is no separate narrator, slickly switching characters and moods - and who would have thought a show about parenthood would suddenly become topical (including one particularly knowing response to a line about childlessness)?
The ingenuity is the joy, which means it may well be even better for someone who knows the show and sees what they are doing with the material, but it stands on its own, feeling as if a travelling troupe of itinerant performers had just pitched up in town.
Just one particular observation as to the organic nature of the production, the set is as though you are in a world created from a piano, the woods being the strings, the proscenium arch the keyboard etc., all of this when the piano being because it's what the music, and therefore the whole musical, emanates from.
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Post by Deleted on Jul 17, 2016 14:41:12 GMT
Pleased to say that I enjoyed this, as did my two companions - I was a bit worried about having booked for them from some of the earlier comments.
It certainly was the most stripped down musical show I have seen, and I can understand why it wouldn't appeal to everybody. For me it helped having already seen a larger version of the show as a comparison, but my friends who hadn't seen it seemed to enjoy it for what it was.
A couple of things didn't quite work for me: the doubling of the ugly sisters felt a bit messy to watch, and a few of the songs lost some of their tunefulness to my ears. On the other hand, the baker, Jack and Cinderella in particular had lovely voices which were a joy in a small venue. I loved the use of basic props, and there was a lot of fun with a cast member standing in for Milky White.
Also had the Hazelnut Meringue as recommended by Foxa - delicious! A good day out.
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Post by jek on Jul 22, 2016 7:50:33 GMT
We went to this last night to celebrate the end of the academic year for my daughter (Year 10 is over!) Really loved it - intelligent, inventive and full of joy. I'm not going to be very good at explaining this but it's a kind of 'New Yorker' magazine production. A bit hipster; a bit Park Slope, Brooklyn. I realise that this will make some people hate it but it hit the spot for us.
Have been watching the online videos of Vanessa Reseland (the witch) in her Glitter Rock band Wifey. For those of us in middle age she appears to be as cool as Debbie Harry. She is the only member of cast new to the London production - and even she was an understudy in New York. It really is a tight knit company who you can imagine spend a lot of time together off stage.
My daughter said that it was second only to Assassins (also at the Menier) in favourite trips to the theatre. And, pleasingly, where we were sitting, there was a lovely cool breeze in the theatre. Had expected it to feel very sticky in there but clearly they are able to get air circulating. A real bonus for the last few days.
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Post by alece10 on Jul 22, 2016 12:37:08 GMT
We went to this last night to celebrate the end of the academic year for my daughter (Year 10 is over!) Really loved it - intelligent, inventive and full of joy. I'm not going to be very good at explaining this but it's a kind of 'New Yorker' magazine production. A bit hipster; a bit Park Slope, Brooklyn. I realise that this will make some people hate it but it hit the spot for us. Have been watching the online videos of Vanessa Reseland (the witch) in her Glitter Rock band Wifey. For those of us in middle age she appears to be as cool as Debbie Harry. She is the only member of cast new to the London production - and even she was an understudy in New York. It really is a tight knit company who you can imagine spend a lot of time together off stage. My daughter said that it was second only to Assassins (also at the Menier) in favourite trips to the theatre. And, pleasingly, where we were sitting, there was a lovely cool breeze in the theatre. Had expected it to feel very sticky in there but clearly they are able to get air circulating. A real bonus for the last few days. The theatre has air conditioning. It was installed a few years ago. Before it was like a sauna in the summer
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Post by stevejohnson678 on Jul 24, 2016 19:34:52 GMT
This was right up my street, wonderfully creative and inventive storytelling and stuffed to the brim with heart and charm.
It's fitting that a story all about community is told by a cast that has a tangible rapport. Their chemistry is clear to see. The travelling troupe of performers vibe about the whole production reaps great rewards.
I particularly enjoyed Emily Young's impish Red Riding Hood, Andy Grotelueschen’s bell-toting, very funny Milky White, and Claire Karpen's Cinderella who sang as beautifully as every princess should. There's really not a weak link amongst the ten strong company.
All in all it was a perfect Sunday afternoon, starting with a lovely meal in the Menier restaurant before enjoying the sold-out performance.
This was my first experience of Into the Woods. It's hard to imagine receiving a better introduction.
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Post by Someone in a tree on Jul 25, 2016 7:59:15 GMT
This is truly amazing As initiviative as the Open Air theatre production A fresh perpective with lots to say Sounds and looks amazing The dark second act works really well, as all the panto / Disney gloss is non existent "Running Away" was my highlight
Is anyone mourning the loss of the slotted spoon and knotted rope lyrics?!
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Post by Phantom of London on Jul 30, 2016 22:38:01 GMT
I saw the Olivier winning Regent's Park production a few years ago, where the atmosphere and location elevated the piece, coupled with some great performances. A couple of years back I saw a fringe production and felt thoroughly underwhelmed and tonight was another stripped back muddle, when a show is so bare the score and book has to stand up to scrutiny, there for everyone to perhaps grimmace and frown, there are a handful of good songs, but in reality with the libretto it came across as crass and pretentious.
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Post by mikey on Jul 31, 2016 8:28:34 GMT
I really loved this production. Already booked tickets to go again. One of the funniest nights of theatre I've had. The actor playing Milky White had me in stitches!
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Post by Scripps on Aug 8, 2016 21:52:09 GMT
I liked a great deal of this, particularly the bit where Little Red Riding Hood scratched the wolf's chest.
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Post by Deleted on Aug 8, 2016 22:20:16 GMT
Are their any more tickets available for this or is the run completely sold out?
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