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Post by frankubelik on Sept 19, 2019 7:04:24 GMT
Agreed. Although I have no great desire to see Fiddler (not a favourite of mine) and certainly not at the high Playhouse prices, I did try to access the code via the link as soon as it was received but nothing was available.
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Post by frankubelik on Sept 7, 2019 7:07:02 GMT
Having seen the perfect production on Broadway (three times) in 1992 with Michael Rupert as Marvin, this was always going to be a hard sell for me however, it was very good and well staged. My major problem came from nobody inhabiting their characters (apart from Whizzer who I thought sang well but was unable to nail his big act one number). Daniel Boys was so disappointing and in my opinion does not have the acting chops to carry this complex role and why was he dressed so very shabbily in act two? I did not believe for a second in Joel Montague's Mendel and Ms Pitt Pulford was her usual dependable self but lacked Trina's nervous hysteria. She acquitted herself in "I'm Breaking Down" well but I suspect it is the number as opposed to the performance which received such an ovation. It remains a tremendous and ultimately moving piece which could have been so much better with stronger casting and direction.
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Post by frankubelik on Sept 7, 2019 6:48:09 GMT
Beautifully and accurately said.
I wonder if Ms Jones had to audition for this, I mean have they actually heard her sing?
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Post by frankubelik on Aug 31, 2019 7:39:56 GMT
Have been waiting for a revival of this for years and had hoped Chichester would oblige, but the Menier will do nicely as long as they get it "right"! The playing has to be so finely tuned and I worry that today's performers have lost touch with acting "in period" however it is in good hands with Matthew White, so fingers crossed. The 1984 revival started life on tour (Bromley) with Glynis Johns who withdrew replaced by Anna Quayle (as Madame Dubonnet) and landed at the Old Vic before transferring to the Albery. Jane Wellman and Simon Green were in it as well as young Bill Deamer. There was a 1967 revival at the Comedy with Cheryl Kennedy and a pretty poor one at the Players it's original home) in 1995 where they seemed to get everything wrong despite it being directed by Maria Charles - the original Dulcie. I saw a "tacky tour" at Richmond in the '80s which was actually very very good. Also let's not forget Julie Andrews made her Broadway debut in this piece.
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Post by frankubelik on Jul 21, 2019 7:53:53 GMT
Well it wasn't as awful as I was expecting but then I went in with very low expectations. I quite liked the piece but it could do with some judicious cutting and I found the staging rather clunky (some of the action takes place in areas where you have to swivel around to see/hear - very poor from Mr Nunn). Jenna Russell gives up on even trying to do an accent and Edward Baker Duly just looks creepy - he is REALLY bad. Vocally these two cannot compare to the glorious sounds of the two original Broadway leads as they crack and struggle through the score. The less said about Dale Rapley the better. A missed opportunity really as I am sure there are much better singers and actors out there to give this musical what it deserves.
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Post by frankubelik on Jul 17, 2019 3:06:26 GMT
That may be on the website but last Wednesday evening it was definitely the alternate with no announcement or obvious foyer signage.
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Post by frankubelik on Jul 15, 2019 17:47:47 GMT
Gosh I am dreading this. Booked prior to the casting announcement and now can't shift the tickets. I have taken to booking an EXTRA seat so as not to have to be so terribly cramped which is of course wasteful but a choice. So many productions have been ruined for me because of the seating and heat - last year's SPAMILTON a case in point. Roll on Saturday...........................
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Post by frankubelik on Jul 15, 2019 17:44:23 GMT
Saw this last week with whom I discovered later was the alternate "Gloria" which explained a lot to me. She was fine but absolutely no charisma whatsoever. Loved the very hard working ensemble and the band was excellent. Of course it's in totally the wrong venue and much of the enjoyment lost as a result.
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Post by frankubelik on Jul 4, 2019 17:51:57 GMT
I recall the National's version with the miscast Molina; Dame Eileen can do no wrong though and did not. I left at the interval of the last revival with Woody Harrelson, Jenny Seagrove and the usually wonderful Clare Higgins (who played an uncompromising Alexandra in Sweet Bird of Youth which has stayed with me for years). I am giving this one a miss.
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Post by frankubelik on Jul 4, 2019 17:45:38 GMT
It was one of those shows which was superbly directed, cast and choreographed. I remember wanting to rewind after every number - the pace, energy and joy was terrific (and I saw it multiple times). It suffered when a heavy handed Louise Gold took over and Nunn's version paled in comparison to this one. Bravo to all involved.
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Post by frankubelik on Jul 2, 2019 17:27:24 GMT
Curious. Just heard about this production which took place over the weekend with Christine Ebersole, Mary Beth Peil, Claire Moore and Summer Strallen! Rob Ashford directed but there seems to be scant information online aside from a few seconds video on Twitter and Instagram pictures. The setting looks gorgeous - was it a private function in somone's house and grounds? Seems quite a heavyweight cast for such a "hidden" event. Anyone have more information?
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Post by frankubelik on Jul 1, 2019 7:01:32 GMT
Anyone else go last night? Warm, engaging and naturally funny with a glorious voice - that is when she sang. There was an awful lot of chat and I didn't see the point of her special guest. The set was a bit shapeless but she was wonderful in the "theatre" songs and the a capella encore. Super.
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Post by frankubelik on Jun 20, 2019 7:04:04 GMT
Despite the excellent vocals of Victoria Clark & Kelli O'Hara I always found the cast recording quite a hard listen but found the piece worked better in performance. It's in the wrong venue of course and even from the front row, the sound was pretty bad and I struggled to hear the lyrics at times. Dove Cameron (who?) was fine, Alex Jennings brought much needed gravitas and Rob Houchen outstanding - how refreshing to hear a legit singer not sliding on and off notes - he's superb. Ms Fleming sings beautifully but is a huge let down in the acting department; she displayed a remarkable lack of stagecraft and looked uncomfortable throughout; her transitions are "clunky" and she appears not to know how to walk across a stage. The role requires a really First Class singing actress and sadly for me Fleming did not cut it.
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Post by frankubelik on Jun 11, 2019 6:36:42 GMT
I will only give a standing ovation when I think it is truly deserved (rare for me) but increasingly find myself having to do so just to see the curtain call! SOs have become the norm these days which is regretful.
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Post by frankubelik on Jun 9, 2019 14:32:37 GMT
Outstanding performance from Ms Sterling. She was extraordinary. Other roles very slightly undercast which I never understand. Change the Casting Director please. Lots of poor choices in this and other years. The leading lady deserves better.
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Post by frankubelik on May 14, 2019 16:41:45 GMT
Likewise, no hate at all but after seeing her by default in so many productions (Follies - second cast 1987/8, On A Clear Day, Guys & Dolls, Sunday, Merrily, Grey Gardens, Fun Home) she simply has never impressed me with her acting or singing. Sorry.
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Post by frankubelik on May 14, 2019 5:55:56 GMT
Booked for this just before Jenna Russell announced - how stupid am I? I REALLY want to like her but find always find her oddly underpowered.....Very disappointing casting.
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Post by frankubelik on Apr 30, 2019 7:03:02 GMT
It's pretty bad. No energy or pace and even the orchestra sounded flat (from the front row!) Grammer acts by numbers, his splayed feet are a real distraction, does not have the singing chops and is decidedly uncharismatic. Ms Di Neise sings well but cannot act. Polycarpou is the only one giving anything like a rounded performance. A massive disappointment.
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Post by frankubelik on Feb 17, 2019 10:33:57 GMT
Like the pies it promotes, this show is very sweet! It's a little bland and does suffer from being generally undercast and while Ms McPhee's vocals were really outstanding, she does not cut it with the acting. Marisha Wallace scored well in a stereotypical role but I found other cast members rather weak particularly the "Ogie" who should be run out of town. It's a good score very well played by the onstage band. I just feel it would be greatly improved by better casting choices. Sorry.
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Post by frankubelik on Feb 17, 2019 10:26:44 GMT
Saw this again last night (after a WAITRESS matinee) and......while I still have major problems with the production (the fire escape staircase, the clunky "Loveland" transitions, the arrival of tap shoes for Sally & Phyllis, some of the costumes and much of the choreography), it was a pleasure to hear Felicity Lott and Claire Moore whose respective numbers were highlights. Not a fan of Ms Riding I was at least looking forward to hearing the role "sung" which it certainly wasn't previously. She was vocally disappointing until "Losing My Mind" which was great; the problem is she does not read middle-aged on stage which for me caused an imbalance. Alex Hanson sang everything sharply but otherwise was a solid Ben (although he's not a patch on Mr Quast) and Peter Forbes excellent. Ms Dee continues to crack on every note and Dawn Hope was on clicktrack just before the end of "Who's That Woman" (I was close enough to see her clearly out of sync with the vocal). Gemma Sutton registered better than her predecessor but I missed Zizi. The less said about Ms Bennett the better. The "tempi" was incredibly inconsistent tonight which was another frustration. I feel it would have been more interesting to recast the entire production but that's just me.
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Post by frankubelik on Feb 12, 2019 8:46:53 GMT
I really echo "frostys" comments here. Monica Dolan is the standout performer and totally agree about the lack of chemistry between her and Rashan Stone as her playwright husband. Lily James is very good but I found Ms Anderson far too languid overall and even from the fourth row struggled to hear her at times (AND she was miked!) Sheila Reid is similarly underpowered. The entire production lacks pace and the really annoying use of music is misplaced (as is the song - bizarre). I found the use of the video distracting overall and simply did not understand why everyone was crammed into the kitchen for the party scene (flashback to similarly ridiculous moments in COMPANY). It's a great and intriguing story deserving of a First Class production which this ultimately does not deliver. It needs a good ten minutes shaved off the time which, with some tighter direction should be altogether possible.
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Post by frankubelik on Feb 7, 2019 4:46:31 GMT
I am Tracie. We are all Tracie. I can do a better I’m Still Here though. Let's face it, anybody could. Ugh.
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Post by frankubelik on Feb 4, 2019 9:00:37 GMT
Yes, very fondly remembered. From FANNY at the old Theatre Museum to a sublime DO I HEAR A WALTZ, A TREE GROWS IN BROOKLYN and JUBILEE at the Barbican Cinema. I will never forget Kathryn Evans atop the piano singing SWEET ADELINE's songs. They were largely very well cast (Ms Evans, Susannah Fellowes, Louise Gold, Daniel Massey, Sam Kelly, Vivienne Martin) and apart from Ian Marshall Fisher's somewhat verbose introductions, they provided a welcome treat on Sunday afternoons.
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Post by frankubelik on Feb 3, 2019 9:23:25 GMT
Minority opinion here. Left me completely cold. Did not care a hoot for any one of the stereotypes on stage. Audience response had me baffled. Sorry.
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Post by frankubelik on Jan 18, 2019 8:59:54 GMT
This was poor live in the Theatre and the recording simply highlights the vocal weaknesses of the female performers. Good luck to all who listen.......
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Post by frankubelik on Jan 13, 2019 15:29:07 GMT
Does anyone remember (like me) when they started trading upstairs in the piazza Covent Garden??? I mean we are talking pre-CDs here....... A devoted if slightly intimidated customer (I always felt judged by what I bought there), I followed them to Monmouth Street and was truly upset when they closed. Mind you I did sell my extensive vinyl collection to them.....
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Post by frankubelik on Dec 24, 2018 6:19:43 GMT
She can't sing.
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Post by frankubelik on Dec 15, 2018 9:01:46 GMT
Increasingly. But I am aware this is to do with age and experience of seeing some truly great stuff here and in New York. I also will not apologise for being a devotee of the "golden age" of both productions and performers. Nevertheless I keep trying but am inevitably disappointed but that's mainly due to lacklustre performers who seem to continue to work despite their (to me) obvious shortcomings (Ria Jones, Tracie Bennett, Janie Dee and the like). I wholeheartedly agree with previous posters about HAMILTON, FUN HOME and of course COMPANY (aside from Ms LuPone naturally). I simply did not understand the "Rocky Horror" style reaction to MORMON either. That's one party I was not invited to!
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Post by frankubelik on Nov 30, 2018 9:17:57 GMT
The sound was indeed really bad and I enjoyed it less than I did "live" in the Theatre where Kelli seemed so much warmer and better. Ken remained incredibly charismatic and Ruthie Ann's acting was superb even if her voice is not the greatest. I could not help but be distracted by the very obvious wig joins and thought a little more care with make up and lighting would have solved the problem.
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Post by frankubelik on Nov 6, 2018 8:19:35 GMT
Must agree with "alicechallice" on this. Tedious to a fault. The two leads are incredibly bland although Ms Noblezada fares slightly better than Mr Carney whose voice couldn't cope with the rigours of the interminable dirges he has to deliver. Patrick Page comes across as a bad pantomime villain and although in a potentially flashy role, Amber Gray as Persephone doesn't quite make it. The undoubted star is the charismatic Andre de Shields who effortlessly provides the links. The three "little shop" girls are fine but what is going on with the faux Hamilton choreography and moving damned tables around (this was clumsy enough in Company)? and the over use of the revolve was terribly distracting. With a different director and some judicious cutting this could be an interesting piece but it felt like a very long evening. I remain bemused as to why Every Single Number was received with whoops of delight they did not deserve - is this becoming a London trend?
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