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Post by frankubelik on Aug 31, 2022 6:14:18 GMT
I wrongly assumed (seeing a preview) the awful Act 2 costume would be changed; given the more traditional design of the others, it's a really poor and rather odd choice.
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Post by frankubelik on Aug 24, 2022 6:11:53 GMT
I found this hugely enjoyable; very inventive and really not what I was expecting at all with a few really impressively staged moments. Overall the cast is good with special mention to those playing the two princes, Jack and Red Riding Hood. I always, as ever have a slight problem with voices (casting "actors" who cannot sing or sing the score in a musical remains beyond me) but I remain in the minority and the performances are largely the saving grace. Money has been spent with an eye for future life.
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Post by frankubelik on Aug 2, 2022 7:58:43 GMT
Very late to the CABARET party here; good preview tickets booked were cancelled due to Covid and then no availability for the first cast whom I was not so bothered about seeing. Rebooked (in not so good seats despite ATG promising to match them... grrr) for late September but another conflict meant they were exchanged (when I finally found a number for ATG) for last night in row C of the stalls. Very low expectations but have to admit it was really excellent! Must state that I hate having to queue to get into venues these days - it never used to happen did it? - and found the descent into the bowels of the "club" oppressive and rather ridiculous and the pre-show immersion I could have done without. The transformation of the auditorium has been very well done and I spent some time wondering quite how they achieved it. The two leads were incredibly impressive and it was rather nice not to be swayed by star or gimmick casting. In fact there really wasn't a weak link although I presume they cut "Why Can't I Wake Up?" for Cliff because he can't sing! The numbers were well staged even if the addition of "Mein Herr" was a little too full on coming straight after "Don't Tell Mama" which Ms Lennox delivered superbly. Some of the book scenes suffered due to the playing area. The band were also spot on. Great to be so pleasantly surprised. I do think the pricing is out of hand though but judging by last night's audience and the bottles of champagne being quaffed, people are prepared to pay the price!
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Post by frankubelik on Jul 14, 2022 16:12:26 GMT
I attended last night. Charlie Stemp is a true star with bags of charisma, he was truly terrific. As I've previously posted, the supporting roles and ensemble remain weak (particularly the men) which is very disappointing for a production clearly destined for a greater life. Is this really the best Chichester can muster these days with jobs so sparse? Stroman reproduces most of the original choreography but some of the farcical elements fall flat. The "Polly" was fine but bland. Always a joy to hear the glorious music extremely well played. Having seen the show originally in NY and London, it never really did much for me but the local crowd adored it.
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Post by frankubelik on Jun 28, 2022 17:01:54 GMT
There was a one night only performance of Follies in Tangier this week. There is precious little information available apart from Rob Ashford directed (he lives there part of the year) and featured Jenna Russell and Brooks Ashmanskas. He did Night Music there last year with Christine Ebersole and (I think) Summer Strallen. Interesting?
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Post by frankubelik on Jun 15, 2022 17:01:27 GMT
There is an HBO documentary "hidden" on Sky Documentaries airing 21:00 tonight. It features members of the OBC and is probably a must for fans and could be interesting for others like me who enjoy this sort of thing!
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Post by frankubelik on May 27, 2022 6:43:53 GMT
A disappointingly underpowered performance from Ms Adams although she has her moments in Act 2. From the fourth row of the stalls, I found her frequently inaudible; I also think she "reads" a little young for Amanda and for me was not directed to highlight the character's delusion strongly enough. Speaking of direction, why oh why do we (and the actors) have to endure the pointless pre-show milling about on stage? It's hugely distracting. The younger actors fare pretty well. The set is ugly (as is her Act 1 costume) and I simply did not understand the reason for the back projections which are intermittent and serve no purpose. Sigh.
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Post by frankubelik on May 13, 2022 6:37:24 GMT
A perfectly fine revival but nothing extraordinary. No doubt that playing it in New York has deepened HHP's performance - he was very very good and I'm sure Amara will settle into a rounded performance. Vanessa was frail and uncertain but received warmly but Kevin Amos a disaster. He's clearly not an actor and looks uncomfortable - his two numbers never "landed". I felt the scrappy ensemble looked a little sparse but it was wonderful to hear a full orchestra.
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Post by frankubelik on May 4, 2022 7:21:59 GMT
This has to be one of the worst things ever staged despite its' Broadway plaudits. Every scene has been re-examined providing no flow or continuity and the staging means that the piece is constantly performed to only one third of the audience at any given time which is not only alienating but confusing for anyone "new" to the show. The band's placement is mystifying and the lighting is atrocious, there is no sense of place and I could not fathom why the mike stand was constantly used apart from to hide the vocal inadequacies of the cast (aside from Ms Wallace) which are legion. Poor in every respect. Sad to think this could be the future of the classic musical revival. The previous poster who gave his tickets away was very very wise.
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Post by frankubelik on Apr 12, 2022 11:13:34 GMT
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Post by frankubelik on Apr 12, 2022 10:48:34 GMT
Theatre Royal Bath cast includes: Nicola Hughes, Gillian Bevan, Julian Bleach, Audrey Brisson, Alex Young.
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Post by frankubelik on Mar 13, 2022 15:33:28 GMT
Not sure if this should be posted here [mods tbc] but.......why does she continue to MISPRONOUNCE Sondheim as SONDIME. Does Elaine not have an aspirant? ? A tweet to her months ago remains ignored but she happily and correctly announces StreiSAND........Jess Rickson is her "guardian" and it's becoming something of a joke to read her fangirl tweets. Isn't also sad that the BBC wouldn't broadcast the words "tits" and "ass" when playing Nathan Lane's KING OF BROADWAY. This show has so very many qualities but the lack of attention to detail is driving me mad.
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Post by frankubelik on Mar 13, 2022 15:20:31 GMT
One is sympathetic to ALL performers who have lives and outside influences preventing them to perform BUT......this is an increasingly acceptable modern phenomenon which generally would not have happened years ago. Sadly it reflects badly on that performer suggesting they "can't be bothered" which might (or might not) be the case. I don't think Ethel Merman missed any performance apart from SOMETHING FOR THE BOYS when she had laryngitis. Poor lead casting choices must be galling for those who DO show up eight times per week. Need to re-iterate the sheer greed of producers with these ticket prices, particularly with the replacement cast. But if punters are prepared to pay...........
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Post by frankubelik on Mar 13, 2022 15:07:16 GMT
Does anyone ever get any decent seats these days (without a subscription?) I don't want to sit on the side upper level........Mind you their schedule has not been inspiring (for me) lately anyway.
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Post by frankubelik on Jan 11, 2022 8:38:00 GMT
I'm really struggling with the pricing of this. I had tickets in Row F for a final preview costing £75 each (unable to be used due to Covid hospitalization) and I am astonished to see the same seats are now £150 each!!! I understand the rise in price after a production has opened, but to DOUBLE??? I'm now toying with booking £100 seats in Row H (which seems to be second to last row) for a performance in September and am simply wondering if this is worth it? I will not see the first principal cast which does not overly bother me, but there is no way I am paying £250 for a seat and wonder in reality, who is?
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Post by frankubelik on Jan 6, 2022 5:57:59 GMT
I know they said to wait but as the (Nutcracker) performance I had booked for was 3 January, I contacted them on 4th but have heard nothing apart from the generic email. Hadn't realised there were in fact additional performances which I could possibly have attended. Confess to being slightly disappointed, particularly when the tickets were £250!
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Post by frankubelik on Dec 22, 2021 6:40:06 GMT
There has been absolutely nothing I have wanted to see there for years. I was "saved" from MANOR by Covid and recall the ABSOLUTE HELL revival being simply dreadful (that poor wordless actress circling the stage continuously was a joke). I will draw a veil over FOLLIES. It's terribly sad when I enjoyed so many past productions: THE CHILDREN'S HOUR, SWEET BIRD OF YOUTH, GHETTO, most of David Hare's work, WIND IN THE WILLOWS - or am I just getting old?
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Post by frankubelik on Dec 22, 2021 6:29:25 GMT
She was 91. Although best remembered for Chitty Chitty Bang Bang (her "Lovely Lonely Man" never to be surpassed), she took over from Julie Andrews on Broadway in My Fair Lady and also appeared in What Makes Sammy Run?and Kwamina (a score really worth rediscovering), The King and I and Hans Christian Andersen in London. She was a notable Desiree in A Little Night Music and was in Brigadoon (with Robert Goulet) on television. RIP.
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Post by frankubelik on Nov 14, 2021 9:55:03 GMT
Felt the need to weigh in on the subject of "mandatory" mask wearing and in particular the sheer inconsistencies therein. ATG seem hell bent on insisting masks should be worn during both MOULIN & CABARET yet are content to sell seats offering food (Cabaret I gather) and tend to push the idea of having drinks at your seat during the performance. I attended PRIVATE LIVES at Richmond Theatre this week and despite the never ending email reminders of what to expect including status checks before entering (oh how I HATE have to queue) AND signs saying masks must be worn, from my seat in the third row stalls and observing the audience, I would say 95% were unmasked. So far my experiences have been very mixed; CINDERELLA - almost paranoid FOH staff (it was a last preview) pushing the audience into their seats especially at the interval which was largely ignored; SOUTH PACIFIC - no enforcement of any kind; FROZEN no checks conducted at door and likewise no mask enforcement; NIGHT MOTHER - 50% masked. The discomfort of being masked up for two hours plus (particularly wearing glasses which steam up!) detracts so much from any enjoyment even though I appreciate the measures taken. It's just incredibly frustrating.
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Post by frankubelik on Nov 6, 2021 17:17:50 GMT
When I worked in "the business" over twenty years ago, I was fortunate (or sometimes not) enough to see so many student productions. It gave me the opportunity to see some classic Broadway shows including LITTLE ME, MERRILY, PROMISES, INTO THE WOODS, COMPANY, MAN OF LA MANCHA, BYE BYE BIRDIE and a truly stunning and inventive CABARET directed by Matt Ryan. Happy Days.
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Post by frankubelik on Oct 10, 2021 14:16:29 GMT
PLEASE if anyone is available tonight, GO SEE her at the Pheasantry. It is a masterclass in cabaret and her voice is sublime. Anyone with even a passing interest in legitimate voices, cabaret and musical theatre should attend. We don't see the like of her that often here these days.
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Post by frankubelik on Sept 8, 2021 7:33:47 GMT
This is pretty bad. The most engaging thing onstage was the reindeer! From the second row, I struggled to hear anything for the first twenty minutes so started from a bad place. The ladies acting is fine but vocally they never thrill which would be the only redeeming feature from this poor production in which the narrative is confused. The "Hygge" comes from nowhere and is frankly embarrassing and the actor manipulating Olaf was better than the puppet itself whilst "Kristoff" seemed ill at ease, was vocally poor and his excessive sweating a real distraction. The theatre has been superbly renovated and deserves a better show than this.
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Post by frankubelik on Jul 15, 2021 6:26:26 GMT
This was a disappointment. I have to agree with the previous poster in that Ms Beck's pregnancy is a distraction and hampers the somewhat over-enthusiastic performance. Emile de Becque is a bass-baritone role which of course Mr Ovenden isn't and for me he lacked the necessary acting weight. Thanks to Rob Houchen for providing the best vocals of the night. I thought the direction somewhat sloppy and missed the big lush sound of the orchestra. The male ensemble were certainly lacking in most departments (although perhaps we've been spoiled by the CINDERELLA hunks) and ultimately I cared nothing for the characters or their dilemmas. I know we should all be grateful that "theatre is back" but please let's not start settling for such sub-standard work.
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Post by frankubelik on Jul 7, 2021 6:12:47 GMT
Firstly thanks to those who answered about the "timed entry" slots; it was in fact pretty much "business as usual" and there was no need to be seated 30 minutes before the performance started. I felt rather sorry for the FOH staff who have clearly been told to direct the audience to their seats which caused a slight issue at the interval after collecting drinks. I found the show to be OK (is that damning it?) and of course it was great to see some live theatre again. CHF has a rather strange on stage persona; no warmth or charisma (and she shouted her first number) and likewise the boy playing the prince who is just so very inexperienced (not his fault at all but I question those who cast him) meaning they are just "there". It is left to supporting characters to provide the backbone and although I found VHB's take rather strange (all facial ticks and vocal inflections via Tammy Grimes, Joan Greenwood and Fenella Fielding), the duet with Ms Trehearn was the highlight for me. Aside from the obvious pleasure, I found the bare-chested boys somewhat gratuitous (can you imagine comments if we had skimpily dressed girls?) and the choreography, particularly in the ball scene, not good. It was fun to be in the revolve though. Yes, the book is problematic (Prince Charming's appearance, Fairy Godmother as plastic surgeon, the false ending) but there it is. 3 stars.
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Post by frankubelik on Jul 2, 2021 5:07:26 GMT
Can anyone advise about the "timed" entry? Emails from LW state there is a timed entry slot but on the confirmation email it simply states 18:45 to be seated for 19:00. Do we really have to sit for a full 30 minutes pre-show?
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Post by frankubelik on May 17, 2021 9:42:43 GMT
I wish someone could explain or simplify the booking process though. Had the requisite "code" - opened two browsers and at 10am was 9000 and something on one and 12000 something on another! I then logged on to my ATG account and got straight through, bypassing all queues and booked for my preferred date. I'm content, but it's pretty unfair to others.
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Post by frankubelik on May 17, 2021 5:57:11 GMT
Can we have a nod to the original "Bird Woman" - Julia Sutton? Stalwart of West End shows for years, SHE was the real deal. Petula was an embarrasment.
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Post by frankubelik on Apr 11, 2021 13:23:34 GMT
Apologies to those who disagree, but this is becoming too much. Sad as it is, life goes on and what better to lift the spirits than a ShowTune? When I heard that dreary Adele just after 1pm, my heart actually sank. Thank God for my own Spotify playlist and also the Sounds of Broadway app which is remarkable for the breadth of content. It's better than EPOS!
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Post by frankubelik on Feb 14, 2021 10:08:52 GMT
Hear Hear.......why hasn't she been made a "Dame"? From appearing in the choruses of MAGGIE MAY and MAME to COLE, SIDE BY SIDE, WOMAN IN MIND, FOLLIES and SWEENEY she gave indelible performances. Find some of these on YouTube - Broadway Baby, Dear Friend, Falling in Love With Love....sublime. Also total respect for her "withdrawal" from singing just as her voice was starting to show signs of age - I wish many others would follow her example. It's a shame she is so private, an autobiography would make fascinating reading. For those interested, there is a full audio of OTTC out there somewhere.
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Post by frankubelik on Jan 6, 2021 6:49:38 GMT
The Bridewell was run by a maverick producer/director Carol Metcalfe who had the genius of converting this old swimming pool (yes!) into a Theatre space. She started with very small amateur productions ( I seem to recall The Merchant of Venice) and then began the run of musicals with her own production of Damn Yankees (1996) with a stellar cast of professionals and continued presenting scaled down versions of "big" shows: On The Twentieth Century; Promises, Promises; Passion, Romance, Romance; Purlie; Hello Again; On A Clear Day; Floyd Collins; Victor, Victoria; High Spirits; Saturday Night. I think it was the start of largely well cast, unamplified productions and there was much to admire about the versatility of the performing area. I think funding became an issue and Metcalfe was forced out of the venue; she directed a West End revival of Sweet Charity in 1998 but now seems to have disappeared and the venue which was indeed at that time a "powerhouse" has faded into oblivion. Sad.
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