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Company
Oct 6, 2018 13:18:29 GMT
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Post by Scswp on Oct 6, 2018 13:18:29 GMT
Hi lovely people! I was just wondering if anyone could confirm if understudies are listed in the programme and, if so, who they are? Many thanks. 😇 Andy/PJ/Theo:MICHAEL COLBOURNE Joanne/Sarah:FRANCESCA ELLIS David/Harry/Larry:GRANT NEAL Paul/Peter/Jamie:EWAN GILLIES Jenny/Susan:JAIMIE PRUDEN All the above play several non-speaking roles in the ensemble. No standby or understudy for "Bobbi" listed in the programme
How odd that the lead role has no understudy, standby or alternate listed. I wonder why this is? There must be somebody in the wings - so to speak - in case Rosalie is ill etc... Strange?
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Post by Scswp on Oct 6, 2018 5:31:10 GMT
I suspect a limited run would work best, it's not the sort of show that'll be a long runner Is this likely to tour at all?
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Company
Sept 23, 2018 14:52:30 GMT
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Post by Scswp on Sept 23, 2018 14:52:30 GMT
Why is Company not starting an eight-show week until week beginning 22nd October? Why are there several weeks having only six or seven shows? Does it not officially open until that week?
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Company
Sept 16, 2018 15:19:29 GMT
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Post by Scswp on Sept 16, 2018 15:19:29 GMT
Just a quick question before purchasing tickets for Company. I have been offered seats in Row B of the stalls for £79.50. I initially thought this was good, but then noticed that they are not classed as Premium Tickets and are, in fact, less expensive than stalls seats further back. Does the Geilgud Theatre have a high stage and this is why the first few rows are cheaper? I haven’t purchased these seats yet, so any advice about sight lines in the front stalls at this theatre would be appreciated. Thanks.
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Post by Scswp on Sept 15, 2018 13:23:16 GMT
Wonder what she’ll sing? She’s done a wide range of things in concert, but since this is her first U.K. concert tour, maybe she’ll sing all the songs we expect. What would you like to see included? My inclusions would be :
- From Miss Saigon - I’d Give My Life for You (I think this is likely); would also like Movie in My Mind or I Still Believe, though as these are duets, they’re unlikely.
Les Mis - On My Own (doubt she’ll do I Dreamed a Dream as well?) or maybe a medley of these two songs.
Allegiance- Higher
Disney - Reflection, Monster
Others : Promise Me, One Voice, Run to You
Other suggestions please?
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Post by Scswp on Sept 14, 2018 15:34:17 GMT
Just booked for Birmingham Symphony Hall. Still plenty of seats left. I do think they’ll be taken in time though. I opted to sit in the circle (not too high), but now wish I’d picked the stalls. The circle looks very far back from the stage in this venue - I’d forgotten this!!! Ah, well...
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Evita
Sept 5, 2018 18:12:49 GMT
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Post by Scswp on Sept 5, 2018 18:12:49 GMT
Not exactly on topic, but related. Saw this clip of A New Argentina. Don’t know whether this is an amateur production or what, but this girl can belt. She sings the whole song in an even higher key than the original. Seems amazing to me.
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Post by Scswp on Sept 5, 2018 18:12:09 GMT
Not exactly on topic, but related. Saw this clip of A New Argentina. Don’t know whether this is an amateur production or what, but this girl can belt. She sings the whole song in an even higher key than the original. Seems amazing to me.
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Post by Scswp on Sept 5, 2018 14:34:00 GMT
I'd also like to see EP do it. I know this isn't really important and perhaps an unpopular opinion BUT I can't imagine she will attract the insane cheering and standing ovations that Bette did. I don't know the show too well besides listening to the cast recording but it appears that this is really part of it? Maybe I'm wrong about her. Just from seeing the response to her entrance during panto I can't imagine people going crazy. All that being said I'd like to see her in it! Yes, I think you’re right about the general whooping and cheering being an integral part of this show and I think this is much more a feature of American, rather than British, audiences. The presence of such behaviour in the audience elevated the material in my opinion. That’s why I think whoever plays Dolly will not receive that level of adulation/vocal appreciation from a British audience, not even Bette herself (although she would probably get more than most!) Elaine Paige would not receive the same level of hullabaloo as Bette by any means, but I can’t really think of anyone who could. Nevertheless, even for Bette, the whooping would never reach the levels of a New York audience and, therefore, the material (to my mind) would be much less elevated. Yes to Bette though - I’d happily sit through it again. Yes to Elaine - for the last four weeks or for 1-2 shows per week (like Donna Murphy did). Don’t think this is likely though.
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Post by Scswp on Sept 2, 2018 20:01:27 GMT
Yes please to Elaine Paige - I’d be happy to see her do it. Plus the score would be suitable for her voice nowadays.
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Post by Scswp on Sept 2, 2018 15:00:25 GMT
Perhaps already named on here, but what if Streisand would return to the part in case of a London run? If would perfectly fit within the ENO musical series following Sunset, Chess,... And certainly the musical theatre event of 2019 like Sunset used to be in 2016. Absolute dream casting that would be - but, alas, will never happen. Streisand, even by her own admission, did not like doing repetitive theatre, even in her young days. Plus, she prefers to record instead of performing live and she could never sing the score nowadays anywhere near the way she originally did. I’d love to see this, but it’ll never happen imo.
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Post by Scswp on Aug 31, 2018 14:29:26 GMT
I'm telling ya, Miss Bennett is the one! I don’t think she’s a big enough name for the ENO or as a name to fill the Palladium.
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Post by Scswp on Aug 31, 2018 6:14:26 GMT
If not Bette. What about Imelda for the London production! God knows, I love Imelda but no. Just no. She was phenomenal in Gypsy, she was kinda pants in Follies in my opinion, totally miscast bar Losing My Mind. I don't see her in this at all personally. I actually think a couple of names spring to mind. Jane McDonald would of course be fabulous, but also Wendi Peters would be great. And then, of course, Tracie Bennett is just the obvious choice. Really, come on now, that is just obvious. If it does come, hopefully Gavin will come over with it. He's long overdue a return to London and he can add a second Olivier to his colection! I think you’re right that Imelda doesn’t seem appropriate for this role - does she have the general cheekiness and the cheesiness required? Not sure. She was great in Gypsy and, in my opinion, was good in parts of Follies - but this is a totally different ball game, I think. Wendi Peters would be more suitable, but she isn’t a big enough name, I don’t think. Plus, hasn’t she done this show already somewhere- or have I imagined that? Anyway, I think the idea of an ENO Summer run for a limited time like Chess and Sunset might be the most suitable route for a London run. Here’s hoping.
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Post by Scswp on Aug 30, 2018 19:16:57 GMT
She played to nearly 64,000 people over her six night UK Divine Intervention tour in 2015. I'd say the demands there Don’t misunderstand me, I’m not trying to be negative. I hope it does come to London and is successful - I would buy a ticket to see it again. I’m just questioning whether it would be the absolute mega-hyped hit that it has been in America. I’m not so sure. I don’t think London could possibly live up to that kind of ‘mania’ (for want of a better word!) Yes, 64,000 people is a lot, but in terms of numbers, that’s actually only about 28 performances at the Palladium. Hope it comes and I’m proven wrong though.
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Post by Scswp on Aug 28, 2018 19:46:02 GMT
From what I've read, there were standing ovations on the closing night for Bette's entrance, Before the Parade Passes By, Penny in My Pocket, The Waiters Gallop, It Only Takes a Moment and three seperate standing ovations in the title number. Yes, I’ve read those reports too - and I can well-imagine how those ovations would contribute to Bette’s tweet that ‘it was the best night of her life’. My question remains,though, as to whether such a level of hoopla and hullabaloo would exist in a London performance? The audiences’ reactions contributed massively, in my opinion, to this being ‘an event’; take that away and I’m not sure that the experience will be as memorable- both for the audience and for Midler herself.
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Post by Scswp on Aug 28, 2018 18:56:29 GMT
Reading the reports for Saturday night were really fantastic. Standing ovations galore (maybe a little too much but its been a special show) Everyone was on top form, and for Bette to tweet that it was "the best night of her entire life" makes me think she might want to carry on the journey just a little longer? (I know people keep hearing its happening but I'd love some confirmation soon!!!) I doubt this will happen in London with Bette for a variety of reasons. I saw it on Broadway early in the run and enjoyed it, but it is a very dated show and a very ‘American show’ that I think will struggle to sell out night after night, even with Midler. I very much doubt people generally in the U.K. would pay the astronomical prices that were being charged at times over in the US. Yes, of course Midler is an international star, but I would venture to guess that the extent of her popularity in the U.K. is nowhere near the level that it is in America. Even early in the run, on the evening that I attended, the crowd went wild for her - they were whooping and cheering very effusively, thus making it a fantastic experience for both the audience and for Midler. I can’t really imagine British audiences being so vocal with their appreciation- maybe for Midler this would be a bit of a let-down following the New York experience. In addition, I doubt Bette could command anywhere near the salary here that she clearly could in America. I’m not sure the demand for the show itself would be that high and, like I said earlier, I doubt if ticket prices would rise to anywhere near the US equivalents - so Bette would probably be doing the show at a (significantly) reduced salary. Did I enjoy the show when I saw it? Yes. Would I see it again if I had the chance? Yes. But did Bette give a must-see and magnetic performance onstage? To my mind, probably not - certainly not vocally. For me, the night was memorable as a result of Bette’s performance being enhanced considerably by the tangible outpouring of adoration for the star by a very vocal and gushing audience, thus creating an electric atmosphere. These factors, in my opinion, were all contributors to the creation of ‘magic’ - not Midler’s performance by itself. Take away the audience’s vociferous reactions (which, I think is likely to happen with much more reserved British audiences) and it may be that Midler and the production team at large risk ‘bursting the bubble’ of this production. I fear that a London extension could never possibly live up to the massive juggernaut of hype that the New York run of the show managed to generate and sustain, so London may be viewed as being nothing but downhill. Just my opinion! Would definitely buy a ticket if it did come to London and would be happy to be proven wrong! Thoughts of others welcomed...
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Post by Scswp on Aug 18, 2018 12:00:35 GMT
What was shambolic about the 1989 production? What exactly was wrong with it and who starred in it? I genuinely know nothing of this production. Evita is usually well produced and generally well-received. Admittedly I saw it early in the run, but it had problems with sound & light cues, and at one stage the curtain refused to open and the show stopped for about 20 minutes . The show was sold on the promise of Julie Covington making her Evita stage debut , but she pulled out at the very last moment. Stephanie Lawrence stepped in and did a great job on a few days rehearsals, but they didn't have time to make her new costumes before it opened so they didn't really fit. Cast was Stephanie Lawrence - Eva Delia Hannah - alt Eva Glenn Shorrock -Che Stephen Fischer -alt Che David Weatherley - Peron Interesting that Stephanie Lawrence reprised her London role - several people have stated that she was the best London Evita. I would love to hear a recording of her take on the role. I wonder why Julie Covington pulled out? I would guess she couldn’t sing it live to the same standard as she did on the concept album - after all, this production was thirteen years later. Maybe there was another reason though? Interesting also that there was an alternate for the role of Che. I don’t think I’ve ever seen this before. The role of Eva always has an alternate (except, I believe, when Marti Webb did the U.K. Tour in 1995 - by then, she was about 50 when she played the role, but I think she did all eight shows). I’ve never known an alternate Che though.
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Post by Scswp on Aug 18, 2018 6:31:01 GMT
Thanks guys. Wiki confirms the original Australian production of Evita started at the Adelaide Festival in April 1980 with Jennifer Murphy as Eva. Patti LuPone took over as Eva in Sydney in 1981. Typical of Opera Australia to be announcing their upcoming production of 'Evita' as the Australian Premiere! They have also just claimed that 'Rigoletto' is Verdi's greatest opera, which rather leaves 'Otello', 'Falstaff' and 'Don Carlos' among the also-rans, not to mention various others. But that's got nothing to do with 'Evita' except to make one slightly fearful as to whether OA knows what it is doing. Well it can't be any worse than the 1989 production at the State. I think the best word I can use for that is shambolic. But at least Tina has the voice to carry it off. What was shambolic about the 1989 production? What exactly was wrong with it and who starred in it? I genuinely know nothing of this production. Evita is usually well produced and generally well-received.
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Post by Scswp on Aug 17, 2018 14:39:24 GMT
Isnt it amazing too what stage make up can do. Ray Quinn has heavily tattoed arms and yet all covered up when he sang. I could do with some of that for the bags under my eyes. Not sure it was make-up as such. I would guess he was wearing a very thin skin-coloured sleeve which was then blended in with make up to conceal the sleeve itself. Lighting would also help to disguise the fact he was wearing it.
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Post by Scswp on Jul 16, 2018 19:11:43 GMT
When you turn up, they give you a coloured ticket/card. There are three or four different colours and each group enters at a different time. Basically, if you turn up early, you’ll be given a ticket for the first coloured group etc... At least that’s how it worked for Spring Awakening. Hope that makes sense! Ah Right, so get there early, do you reckon an hour before the start is enough time? We were there for a Saturday matinee. We were in the first coloured group, but were there about an hour and a quarter/half beforehand. We had food and drink there before the show, so the time passed quite quickly. I think an hour should be fine, though it may not get you in the first group - at least from my experience. It’s unpredictable though tbh. Best of luck - hope you get good seats.
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Post by Scswp on Jul 16, 2018 18:52:54 GMT
Oh its sounding better, I might give it a go. How does it actually work getting seats at hope mill? do you just queue and hope you get a decent view? When you turn up, they give you a coloured ticket/card. There are three or four different colours and each group enters at a different time. Basically, if you turn up early, you’ll be given a ticket for the first coloured group etc... At least that’s how it worked for Spring Awakening. Hope that makes sense!
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Post by Scswp on Jul 3, 2018 18:44:21 GMT
I’ve just purchased tickets, but to see it in Dublin. I wonder if the Dublin show will be exactly the same as at the Phoenix? It’s not a very technical or set-heavy show, is it?
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Post by Scswp on Jun 30, 2018 10:45:41 GMT
Changing the subject quickly, how long are they spending on bag checks and am I going to have to fight to keep my bottle of water on me? To be honest, I think keeping hold of your water is a simple game of chance. I know there was a big discussion about this during Chess at the Coliseum. By the time I got to the theatre (around 2:00 for a matinee), the bag check was very ‘going through the motions’ in terms of the way it was done. I opened my bag, they took a quick glance and let me through - there were two bottles of drink on the top, clearly visible, but they said nothing. I sat and drank (quietly) quite openly. I think it’s just luck depending on who checks your bag and how busy they are at the time you turn up. The priority at certain times is to get the audience in quickly and on-time.
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Post by Scswp on Jun 8, 2018 5:57:37 GMT
I am so giddy, I am so struggling to type this post, but freaking excellent news saw this both in Toronto and Broadway and it’s excellent, tender and very funny. Theatre fans are in for a treat. The role played on Broadway by Jenn Colette on Broadway, could be played excellently by our own Josie Walker. This will bag the Olivier. Or Hannah Waddingham - she would be great too.
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Post by Scswp on May 31, 2018 7:04:20 GMT
I can’t quite put my finger on why this production worked for me, but it did work very well and, like I said earlier, it’s the best and most clearly-told version of Chess I’ve seen.
I agree with the comments of others that Florence needs to be more defined earlier on, but I do think that ‘beefing up’ the role of Svetlana actually worked very well. Maybe that was one of the key dynamics that was missing from all previous productions. I liked the brief scene at the beginning and I liked the opening of Act 2 with Svetlana and her son. For me, that worked well. Alexandra Burke was a bit ‘pop’ in terms of vocal style, but her acting through song was surprisingly convincing.
Florence, despite not having any material cut from the concept album, somehow seemed less of a lead and appeared far less prominent a character than in previous productions. She still sings more than Svetlana, but somehow there was an ‘evenness’ between the two women. I liked Svetlana’s part of ‘I Know Him So Well’ being performed as a TV interview - again, the lyrics totally made sense for the first time.
There have been lots of comments re poor sound quality. I had no such trouble; thought the sound design was good and ‘Endgame’ in particular sounded fantastic. From where I was sitting (dress circle), I could make out every word - which I definitely couldn’t in the Albert Hall version!
I really think this was a great production visually (yes, the video screens were over-used and, arguably, were a visual distraction at times - but generally I think they added something) and I don’t think the book will ever get any better or clearer than this. Was the book perfect? No. But was the book tighter than it’s ever been? In my opinion, yes.
Overall, very 1980s in style - but it is set in the 1980s - and very enjoyable!
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Post by Scswp on May 30, 2018 18:50:30 GMT
I'm here at the Coliseum right now, i can't wait!!! I’ve just left too, and wow... what a show. Me too! I saw the show this afternoon. I really enjoyed it. I think it’s the best production of Chess that I’ve seen.
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Post by Scswp on May 29, 2018 11:59:51 GMT
[/quote]I wouldn’t lose all hope on this yet. There are still seven months until it’s rumoured to open, and on the Abbey theatre website they’re only displaying their shows until November (CFA is allegedly playing December - January ‘19). I must admit though, the sooner it’s announced/on sale the sooner I can get my trip sorted![/quote]
Thanks for the information, Tom89. I agree with you - I'm looking to book the trip too, but just awaiting dates.
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Post by Scswp on May 28, 2018 16:24:10 GMT
Is there any further news about this coming to Dublin? It seems to have gone very quiet and it’s not even shown on the theatre’s website. Hope it does come to Dublin.
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Chess
May 7, 2018 12:50:19 GMT
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Post by Scswp on May 7, 2018 12:50:19 GMT
Why does Florence not appear until well into the story? In versions I’ve seen previously, you don’t have to wait that long for her character to appear. Why, according to some people who have seen it so far, is her appearance so much later in this production? What has changed to that extent?
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Chess
May 4, 2018 5:33:09 GMT
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Post by Scswp on May 4, 2018 5:33:09 GMT
In the Swedish production, I seem to remember that, at some point, Molokov sings a song (can’t remember the Swedish title) that is actually the tune of Abba’s demo song ‘When the Waves Roll Out to Sea’. I’m sure I haven’t dreamt this - is this tune/section in the current London version? No it isn’t. It was a chess demo, based on the never released abba song just like that. That melody used in the sweden version is breathtakingly beautiful. Ok. I thought it was based on a song called ‘When the Waves Roll Out to Sea’. Is ‘Just Like That’ just a different title for the same tune/song or are the two songs/demos different? Anyway, I agree that the performance in the Swedish version is lovely. I have no idea what he is singing about, but it definitely has a poignancy to it. Hopefully, it’ll be included in the Helsinki version which I hope to see later this year. It’ll be interesting to see how that compares with the London version that I’ll see later this month.
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