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Post by apubleed on Feb 22, 2022 8:21:18 GMT
For me the sound design was unacceptable - it wasn’t a technical mess up more so just complete and utter misguided direction. However, I can forgive slip ups for a one night concert especially because I thought Tracie had a much more complex and realised performance of Rose’s Turn than I’d expect for a one night concert. I’ve watched performers make mistakes in previews and in normal performances all the time so of course I know it’s a risk that is especially likely in this kind of scenario. Disappointing but forgivable for me.
I also want to say this theatre is a bit awful. Awful sound awful location awful look and atmosphere. I think it was a mistake choosing it but I assume they got a good deal.
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Post by mrbarnaby on Feb 22, 2022 9:17:48 GMT
This is why I will never see one of these concerts again. The sound ALWAYS ruins them. I don’t know how they think they can get away with it. They charge loads of money for tickets and then it’s always under rehearsed and dreadful sound.
The disastrous Chess at the Albert Hall years ago did me in.
I would absolutely love to see Tracie Bennett’s car crash of a scene though. Sounds amazing 😂
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Post by mrbarnaby on Feb 22, 2022 9:19:16 GMT
Also How did Sally do all of act 2 including the strip and then Tracey B did Roses Turn?!
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Post by apubleed on Feb 22, 2022 9:24:34 GMT
Tracie entered from Gypsy’s dressing room scene onwards.
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Post by alece10 on Feb 22, 2022 9:34:57 GMT
Reading these sorts of comments about concert versions of shows are all too familiar with actors reading from the score, under rehearsed, poor sound etc and I've been to a few if them in my time. However the recent Bonnie & Clyde concert showed how it can and should be done. Great sound (and I was informed they only had 1 hour to do sound checks), well rehearsed cast and it was pretty much fully staged.
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Post by partytentdown on Feb 22, 2022 9:59:25 GMT
This is why I will never see one of these concerts again. The sound ALWAYS ruins them. I don’t know how they think they can get away with it. They charge loads of money for tickets and then it’s always under rehearsed and dreadful sound. The disastrous Chess at the Albert Hall years ago did me in. I would absolutely love to see Tracie Bennett’s car crash of a scene though. Sounds amazing 😂 I had totally blanked that Chess debacle! I think it's the only time I've ever been proactively sent a partial refund because a show was so bad!
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Post by Being Alive on Feb 22, 2022 10:03:18 GMT
I didn't think the sound was as bad as everyone else is saying - yes there were moments that were a little bit off but on the whole I thought it was pretty good
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Post by inthenose on Feb 22, 2022 10:20:01 GMT
I feel the need jump in here with a little bit of balance/defence for the noise boys and girls with regards to these types of gigs.
The get-in is usually the same day as the performance, and sound is always an afterthought. In fact, it is always the very last thing teched - if there is time. Sound technicians are expected to turn up to a venue for load in, know the house's equipment and acoustics (and the material!) inside out in advance, with absolutely zero chance to prepare/balance/know every pick-up cue. All the stuff you have a week or more to tech in any show running for more than a few performances, you get a few hours maximum. It's just a completely impossible task to get it right first time, no matter the skill of the individual hired.
Performers standing up on stage and nerves getting the better of them/being unprepared is a completely different set of circumstances.
I once DSM'd one in a 1000 seat house where I missed about five sound cues because they added them four minutes before the house opened while I was doing FOH calls. Literally nobody told me.
LX had five hours on stage for the plot, sound had 19 minutes to get it right. The tickets were up to £85 each. The first time the sound tech heard the performers mic'd was in the opening number. There was no foldback on stage, it was a disaster.
I do agree, these shows do sound awful more often than not, but until producers and directors start taking sound seriously and give them the time they need, nothing will ever change.
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Post by ruthieh on Feb 22, 2022 10:28:13 GMT
I was there last night and thought from where I was sat the sound was great. I loved the orchestra, and thought the Roses did a great job…I don’t know Gypsy as well as some on here and haven’t seen it in years so to be honest didn’t spot any mistakes, but thought the performances were pretty fab given that it was one night and they were trying something a bit different. It was much more staged and choreographed than I expected. I loved the first three Rose costumes in similar red dresses and purple shoes, so was a bit disappointed when Keala came on in grey and silver and then on they wore different colours. It would have been a nice touch to have kept that theme I feel.
All in all, I had a great night, and thought I was watching something pretty special.
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Post by Deleted on Feb 22, 2022 10:29:06 GMT
The disastrous Chess at the Albert Hall years ago did me in. Agreed. I haven't been to the RAH since. They didn't give a damn about people in the hall, just what it sounded like for the recording.
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Post by jgblunners on Feb 22, 2022 10:41:32 GMT
The renovated Ally Pally theatre actually has a rather nice acoustic for unamplified music. I've not attended a concert there that used amplification so can't comment on how hard it would be to get it right. inthenose makes an excellent point about it being on the producers to ensure that sound design is given ample time. I remember that the LMTO concerts at various venues (frequently Cadogan Hall) always had excellent sound, and were often performed in more traditional concert style stood at mic stands rather than this semi-staged business that Quick Fantastic seem to be doing. It seems to me that LMTO always used to put music first in their fairly simple stagings whereas QF are being far more ambitious with their events.
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Post by theoracle on Feb 22, 2022 11:56:02 GMT
Ahh yes LMTO events were amazing - will never forget how perfect R&H Cinderella was at Cadogan Hall which seems to have better acoustics generally too. QF always has amazing casts though which pique my curiosity and the pieces Alex Parker chooses tend to be ones I like too. Would’ve loved to see Bridges but sadly couldn’t make that one.
In the interview, Alex said that Ally Pally was deliberately chosen because of the look and feel of the space - the nostalgia marching well with the period Gypsy is set in. In a way I do understand but after the complaints at Sunset, I am surprised so many still had issues with sound this time around. I was right by the mixing guy so maybe I was lucky but yes, it did still feel over amplified
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Post by FrontroverPaul on Feb 22, 2022 12:23:01 GMT
Maybe the sound issue depended on where you were seated. At the very front of the stalls to my ears it was perfect, as was the entire show. Maybe I'm too easily pleased but if this was a two nighter like Bonnie & Clyde I'd be back tonight.
I'd never been to Alexander Palace and thought the building and auditorium were amazing, plus the view from outside is quite something. Now I know the bus route (W3) I'm going back by day to see it properly.
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Post by CG on the loose on Feb 22, 2022 12:34:44 GMT
I was there too last night. Sure, the sound wasn't perfect but it really wasn't bad from where I was sitting a couple of rows into the rake of the Stalls. I had a perfect view from there too, above the heads below and on the aisle with no seat in front, so plenty of leg room too. Personally I love the space - reminds me of Wiltons but on a larger scale - but my was it cold! First time I've resorted to wearing my coat at an indoor production.
As for the show, "you gotta have a gimmick" had been embraced wholeheartedly with their 'bunch of Roses'. For me, it worked - I thought the change overs might have been jarring but didn't find them so and credit must go to all seven for that. Stand outs for me, as for others, were Sally Ann Triplett for her outstanding, fully-rounded Rose and Tracie Bennett for her achingly brilliant Rose's Turn.
For me, these 'one offs' are event theatre and I'm minded to forgive a few flaws for the unique experience they present.
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Post by danb on Feb 22, 2022 12:45:28 GMT
So pleased for Sal getting so much praise. Her talent is just massive!
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Post by FrontroverPaul on Feb 22, 2022 13:01:49 GMT
For anyone wanting to see Gypsy again - or living too far from London for Alexandra Palace - it's being staged at Buxton Opera House in July.
Bit of a trek from Kent but I've booked the Saturday matinee. Trains to Sheffield and bus to Buxton, then back by train via Stockport should work.
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Post by BurlyBeaR on Feb 22, 2022 14:10:02 GMT
For anyone wanting to see Gypsy again - or living too far from London for Alexandra Palace - it's being staged at Buxton Opera House in July. Bit of a trek from Kent but I've booked the Saturday matinee. Trains to Sheffield and bus to Buxton, then back by train via Stockport should work. Thread for Buxton here theatreboard.co.uk/thread/9132/gypsy-buxton-opera-house
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Post by jaggy on Feb 22, 2022 14:39:39 GMT
After seeing it last night I thought they should have just stuck to one actor to play rose or at least reduced it to three or four. Some of the Roses were quite painful in the book scenes.
I was also wincing in the dressing room scene especially when Tracie left Laura Pitt-Pulford waiting for the last exchange ("I thought you did it for me, Mama?"). They tried to hide it by prolonging the photo shoot. I thought for the first time we were actually going to see Louise get in that tub! Unfortunately, Tracie didn't return so they just went to Roses Turn. I think Tracie let the adrenaline get to her; that was apparent when she accidently knocked over the telephone.
I thought Laura Pitt-Pulford was effective in the strip number and will keep an eye out for her future projects.
I end this post by saying, if you haven't seen Patti and Laura Benanti in Gypsy go to YouTube and watch how that dressing room scene should be done! It's a masterclass in acting.
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Post by marob on Feb 22, 2022 15:00:56 GMT
Out of curiosity, what song did Melanie La Barrie do?
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Post by couldileaveyou on Feb 22, 2022 15:07:09 GMT
Out of curiosity, what song did Melanie La Barrie do? Mr Goldstone
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Post by jaggy on Feb 22, 2022 15:07:55 GMT
Out of curiosity, what song did Melanie La Barrie do? She sang Mr. Goldstone, I Love You.
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Post by Being Alive on Feb 22, 2022 15:10:04 GMT
Out of curiosity, what song did Melanie La Barrie do? Mr Goldstone and she was TERRIFIC
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Post by BurlyBeaR on Feb 22, 2022 15:26:49 GMT
Surprised to hear they weren’t all wigged and costumed identically. What was that all about?
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Post by apubleed on Feb 22, 2022 17:08:01 GMT
Well they mostly had similar costumes but the concept of the show was clearly to present 7 unique interpretations of the character tailored to each performer not present a singular vision of the character.
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Post by danb on Feb 22, 2022 17:22:49 GMT
Surely that would highlight the performance more if they were all costumed the same?
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Post by mrbarnaby on Feb 22, 2022 18:28:23 GMT
Surely that would highlight the performance more if they were all costumed the same? That makes no sense at all.
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Post by danb on Feb 22, 2022 18:44:53 GMT
Because you’d have processed the costume after 2 different Rose’s and so could properly focus on the performance given after that. Sorry that you needed it explaining. I was just drawing on the ‘Signs & Symbols’ section of my year 7 R.E. GCSE.
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Post by BurlyBeaR on Feb 22, 2022 19:22:18 GMT
Surely that would highlight the performance more if they were all costumed the same? I agree, surely dressing g them differently highlights the fact that “ooh this Rose has a green skirt, the last one was red” rather than the different acting or singing.
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Post by couldileaveyou on Feb 22, 2022 20:30:34 GMT
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Post by sph on Feb 22, 2022 22:39:41 GMT
I think the decision to keep them all in a red dress is more to give the character some consistency for the benefit of the audience when the actress is changing in every scene. Remember not everyone is familiar with Gypsy, so it says to the audience "Ok, this is still Rose, the one in the red dress, same character, not a new character! She's just being played by this lady now!"
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