321 posts
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Chess
May 3, 2018 18:17:46 GMT
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Post by Scswp on May 3, 2018 18:17:46 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?
EDIT : Here it is. Is this included in the London production?
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321 posts
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Chess
May 1, 2018 5:30:43 GMT
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Post by Scswp on May 1, 2018 5:30:43 GMT
I really loved this tonight! I thought it was great. Ok, the sound/diction for the large group numbers were a mess and even knowing the score well didn't help decipher what they were singing, but for the main scenes/songs, the sound was excellent. Really good use of the screens at the sides and thankfully the audio and visual were in synch. Excellent set design and lighting. I thought the 4 leads were all great, and i don't understand the bashing of Alexandra Burke. I thought she was fantastic vocally. Yes she might not act the songs enough, but she definitely gets it across well. I really liked the new song for Svetlana at the top of Act 2.Would i pay to see Alexandra play Florence? Yep! Michael Ball was back to form, none of his cabaret nonsense and mannerisms, but it must be said, he's also not the greatest actor. Cassidy Jensen was very good, but she didnt blow me away and Tim Howar definitely has the chops for Freddie. The women's roles are very underwritten and there's no real introduction to either of them in the show. The orchestra sounded glorious, as were the extra chorus brought in for the second half. The biggest applause was for I Know Him So Well, but me for the best number was The Deal. It's always been one of my favourite songs in the score and in this production it had an amazing sound and fantastic guitar riffs, and a great drum beat throughout, something that i felt was missing from Nobody's Side. I only wish there was a pause for applause for it, before it goes into Pity The Child. On the Danish Tour recording, at the very end, after You and I, there's a finale, with Florence singing a reprise of Anthem, and to me that was a better ending than just You and I. Maybe it's because my expectations were lowered by people on here, or maybe because i only paid £22 instead of £65, but i thought was great and i'll definitely be going again before it ends. I agree about ending with a reprise of ‘Anthem’ - a much better ending. It’s a pity they haven’t included this. I would imagine with just ‘You and I’ at the end, the show just sort of ‘fizzles out’. Most of the versions I’ve seen end with Florence and Company reprising ‘Anthem’ and it always seems to end the show well.
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321 posts
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Chess
Apr 27, 2018 5:27:06 GMT
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Post by Scswp on Apr 27, 2018 5:27:06 GMT
Is it likely that they’ll sort the sound system? At the ENO, the sound should be one of the strengths I would have thought. I would definitely complain if I had paid the prices being charged and then discover that the sound was largely ‘inaudible’ - as it has been described.
What is it with Chess and sound systems? The CRH tour didn’t have great sound design (I know that was actor-musician style) and the sound at the Albert Hall concerts was dire. And now this!
Seriously, if it was so bad, why are people not complaining at these prices?
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Post by Scswp on Apr 16, 2018 5:57:33 GMT
julie hesmondhalgh at the matinee performance of Spring Awakening at the Hope Mill Theatre Me too!!! I was at the same performance!
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321 posts
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Chess
Apr 15, 2018 19:05:52 GMT
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Post by Scswp on Apr 15, 2018 19:05:52 GMT
Just checking the ENO website. I would like to see this, but the prices are very high and I’m restricted for dates. There seems to be a fair amount of seats left. Do people think these will sell at this value before it opens or is it likely that these will be reduced at TKTS on the day? I know it’s a risk, but what was the selling pattern like for Sweeney Todd, Carousel and Sunset Boulevard at the ENO? What do people think? Am I best to take the risk and wait in the hope prices will drop? Or does the ENO not reduce rates at all?
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321 posts
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Evita
Apr 9, 2018 18:11:23 GMT
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Post by Scswp on Apr 9, 2018 18:11:23 GMT
Hi folks Does anyone know if Madalena does all performances? A friend has booked for the Wednesday matinee in Newcastle, and I'm concerned that Ms Alberto might not do weekday matinees! It is usual for the role of Evita to have an alternate and it is common practice for the main Evita (ie, Madalena Alberto in this case) to have two shows off each week. The alternate used to do the two matinee performances each week, but I believe they occasionally vary this now. Sadly for you, there is a good chance that the Evita at the Wednesday matinee will be the alternate (going by the history of the role at least). You may be lucky, though - fingers crossed for you! Let us know what you thought of the show once you’ve seen it - whichever Evita you get to see.
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Post by Scswp on Apr 6, 2018 17:15:42 GMT
Oh, that’s a shame. Least it’s coming to Scotland! Friend just booked for Manchester, and said it’s sold really well. Friday and Saturday performances have limited availablity but the rest of them are only about half sold, if that. Even the Wednesday matinees, which I would have expected to be full of school etc are only around half sold so far. I would guess it’s too expensive for many schools to consider. It’s a pity there are no scheduled ‘school performances’ at a much-reduced cost in order to attract the next generation of theatre-goers. I’m a teacher myself and have recently read ‘Matilda’ with the class. The children, I’m sure, would love to see this on stage, but the price range is well of out of reach for many of our parents. A pity!
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Post by Scswp on Apr 2, 2018 6:32:52 GMT
Much as I adore her (and I do), I take slight issue with anyone miming and passing it off as live. She's been singing for 30 years and made her name with her voice, there's no excuse or reason for copping out. If you can't sing the song, don't sing the song. In this case, if she is capable of belting it live (which I believe she is), she should either do the whole thing live or sing something else. Or even just shorten the note at the end. I’ve heard that done by several male performers of that song. It sounds just as effective tbh. Frank Wildhorn (the composer of ‘This is the Monent’) has something of a penchant for excessively-long notes in several of his songs. Many performers - including the fantastic Thomas Borchert who sang it in the Vienna production of Jekyll & Hyde - simply shorten the note.
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Post by Scswp on Apr 1, 2018 14:29:55 GMT
This is the moment was definitely not mimed. I suspected some of the show was as the sound levels sound different. This must be down to production as whenever I have seen Jane live her vocals are outstanding and never a duff note. She is more than capable of singing live. The end finale may well be mimed, but I can't remember now which songs appear to have been mimed. More live though than mimed. Jane is easily capable of belting out ‘This is the Moment’ live - I’ve heard her do it several times. However, I believe the last note is - and has always been since she started doing the song way back - click-tracked. When you hear it live, the sound is always subtly (but noticeably) different to the live vocals used for the rest of the song.
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Post by Scswp on Mar 30, 2018 16:00:09 GMT
Clare Smyth Core restaurant
Locanda Locatelli
Pied à Terre
Marcus Wareing restaurant at The Berkeley
Theo Randall at the Intercontinental
Murano
These are all very good in my opinion. Hope you enjoy your experience wherever you end up going.
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Post by Scswp on Mar 23, 2018 17:26:16 GMT
Saw this last night in Birmingham. Have seen it several times since the late eighties and only went because I got cheap tickets. I enjoyed it a lot. Madalena Alberto was good - at last, for the first time in years, an Eva who can sing the score as written (ie, A New Argentina all sung through in the original keys!) Brava! It is dated in style, but the score is strong and always good to hear it sung live.
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Post by Scswp on Mar 18, 2018 15:49:40 GMT
Have seen ‘Aspects’ twice, both on U.K. Tours. The David Essex one and the one before. In the first one, the only performance I can really recall was that of Jacinta Whyte (sp?) as Giulietta. That was an amazing performance by her; her voice was so powerful, I think she actually fully belted ‘Wine and the Dice’ (it certain sounded like a full belt) - amazing! Funnily enough, though, following this, I saw her (by chance) as Eponine in Les Mis and Ellen in the original production of Miss Saigon and didn’t really like her in either of those things. In ‘Aspects’ though, her performance was the stand-out by a mile.
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Post by Scswp on Mar 1, 2018 12:48:38 GMT
Svetlana doesn't need two songs describing how dissatisfied she is with her life no matter who is playing the role. Yes, my point exactly. Will it be added merely because a celebrity is playing the part? This does nothing for the integrity of the show itself IMO.
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Post by Scswp on Mar 1, 2018 6:32:37 GMT
Well at least that will equal out the singing somewhat. Cassidy will get her Mountain Duet and Nobody's Side amongst others. To some extent, yes - though Florence is still a far bigger role. If they are ‘beefing’ out the role of Svetlana, that is fine so long as it serves the structure and plot (it keeps being insisted that the ideal structure is still be striven for), but if they’re increasing Svetlana’s role simply because it’s being played by a celebrity, then that’s slightly worrying. That reasoning does not serve the plot at all and may be counter-productive. Chess is already a long musical and that is what we are paying to see - ‘Chess’ (hopefully, with the long-awaited improvements in driving the plot); we are not paying to see Alexandra Burke provide additional length to an already-long show. We shall see - I hope her additions improve the show itself.
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Post by Scswp on Feb 27, 2018 17:16:48 GMT
^^^ Lovely performance. Unusual that Svetlana sings the ‘lead’ part (ie, traditionally, Florence’s part). Was this how it was in the Sjoholm production? An interesting switch here.
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321 posts
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Chess
Feb 26, 2018 12:32:42 GMT
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Post by Scswp on Feb 26, 2018 12:32:42 GMT
Benny wants to include He is a Man, He is a Child apparently, in which case Florence would get back Someone Else's Story in Act One. (Or it gets cut completely!!!) Ok, I wasn’t aware of this. I don’t know this song TBH, so I assume it’s sung by Svetlana? I will have to search for it in the Swedish production on YouTube.
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321 posts
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Chess
Feb 26, 2018 6:27:17 GMT
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Post by Scswp on Feb 26, 2018 6:27:17 GMT
^Thanks for sharing. I hope there are costumes and at least some staging; otherwise it will just be a concert! Do we think ‘Someone Else’s Story’ will be sung by Florence or Svetlana? In more recent productions, it seems to be Svetlana’s solo? I would imagine it will be sung by Svetlana - otherwise, Burke’s role will be reduced to virtually nothing.
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Post by Scswp on Feb 23, 2018 15:22:48 GMT
^^^ I doubt there will ever be a full revival like the Adelphi original. That production was so completely lavish and was amazingly impressive at the time (and, in terms of staging, would be impressive even now).
The problem was, I think, it was very quick to use named performers in the original productions (LuPone, Buckley, Paige, Clarke, Rita Moreno, Close, Diahann Carroll, Debra Byrne), making audiences expect a ‘name’ of some description or note. It was, therefore, very difficult for the production itself and the title to ‘make their mark’. Plus, pictures of the star playing Norma (in costume) always seemed to accompany the logo (this was never the case with the original ‘Phantom’ - you didn’t see Crawford and Brightman - you simply saw the logo). As a result of the often-accompanying photograph of the star playing Norma, the title ‘Sunset Boulevard’ didn’t become the star at all - hence, the current tour without a well-known name is not a draw for the public.
I don’t necessarily agree that there is too much music in this either and I wouldn’t describe it as a sung-through musical at all. There is actually a fair amount of spoken dialogue in this - so I don’t think that has influenced the lack of ticket sales. I think that, for younger audiences, the title itself has never crept into the general consciousness (unlike Phantom, Saigon, Cats etc...) and , for older audiences who remember the original, there is the expectation of a ‘name’.
Just my thoughts! I think it’s a shame it hasn’t sold well - it’s one of my favourite shows!!!
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Post by Scswp on Feb 22, 2018 7:39:50 GMT
I took two friends to see Evita and the verdict was: “Too much singing” I know. *bangs head on desk* I've heard people say that about the Les Mis and Evita films, but never about theatre. What is WRONG with some people?!? Why is bursting into song in the (now very old) tradition of dialogue, musical number, dialogue, musical number (and repeat) preferable to so many numbnuts, I wonder?! I love a sung-through musical, but for people who don’t have the same level of interest and probably don’t listen to the cast recordings to the same degree (if at all!), then it is more comfortable to listen to dialogue-song-dialogue-song etc... as it is much easier to follow the narrative through dialogue rather than having to really concentrate on the narrative within the song lyrics. Many of the true fans know a fair proportion of the lyrics from the cast recording beforehand and, even in the case of newer musicals, are possibly more attuned to digesting the plot through song than audience members who are less enthusiastic about musical theatre in general. For people who want an ’easy listening’ experience (and one which, arguably, requires less focus and concentration), the concept of music mixed with dialogue much more readily fits this idea IMO.
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Post by Scswp on Feb 11, 2018 21:13:55 GMT
The American needs you to play arrogant, self-absorbed, cocky and petulant. I am sure most pop stars can give that sort of thing a good stab! Yes, but parts of The American’s role are difficult to sing, especially Pity The Child, so it’s not an easy fit at all IMO
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321 posts
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Chess
Feb 11, 2018 15:21:40 GMT
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Post by Scswp on Feb 11, 2018 15:21:40 GMT
From seeing the first preview in 86 and many times after that in london tours and amateur productions i feel Philip Jalmelid would be perfect for the role of Anotoly. Not a big name i know but youtube him. And tell me i am wrong Yes, I agree that he is very good. Sadly, being very good is not enough in West End theatre terms these days - which is a great shame. A known face with far less talent can often be the way producers go.
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Post by Scswp on Feb 11, 2018 11:39:05 GMT
Sunset Boulevard- far too many times to remember, dating back to the lavish original in the nineties. Have seen lots of Normas, several of them multiple times - LuPone, Buckley, Paige, Close, Faith Brown, Kathryn Evans, Ria Jones. The original was fab!!!!
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321 posts
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Chess
Jan 28, 2018 15:55:04 GMT
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Post by Scswp on Jan 28, 2018 15:55:04 GMT
I agree I only heard bootleg audios of Storm and she sounds pretty incredible. Where did you hear those audios if you don’t mind my asking? There are no clips on YouTube, I don’t think. I’d love to hear those.
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321 posts
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Chess
Jan 28, 2018 7:11:56 GMT
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Post by Scswp on Jan 28, 2018 7:11:56 GMT
That was the tour that started at the Theatre Royal Plymouth also with Rebecca Storm. I agree with you about Maurice! Rebecca Storm was wonderful as Florence. I often wish she’d sing ‘Someone Else’s Story’ as part of her concert repertoire. In the tour back then, it was still Florence’s song and Storm sang it so well.
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Post by Scswp on Jan 24, 2018 17:48:45 GMT
Parts of Dear Evan Hansen are good and it is enjoyable, but it didn’t blow me away after all the hype (I saw the original cast last April).
Would be interesting to see Bernadette in Hello Dolly. She is a Broadway legend after all - though, in my opinion, always slightly over-rated (I saw her in Gypsy and Follies). Bette Midler was funny and enjoyable in the part, but the production itself was good, so I would go to see it again with Bernadette if I had the chance.
My Fair Lady should be good too.
I agree that you should see things that are not likely to be seen in London. Enjoy the trip.
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Post by Scswp on Dec 31, 2017 14:37:09 GMT
I've got concert programme so if anyone wants to know exact setlist I can list it on here. Yes, please do. Thanks
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Post by Scswp on Dec 30, 2017 7:31:01 GMT
I have just realised that BurleyBeaR and Oleanna are discussing a high E that should be sung by Carlotta in Phantom. I have a little anecdote about that which I heard from an acquaintance who got it from an acquaintance..... It seems that at some point some years after Phantom first appeared that Rosemary Ashe, who had created Carlotta, was returning to the role once again. I don't know exactly where or when but apparently in rehearsal, Rosemary opted not to sing the high E, to which the MD insisted: "Oh, you must sing the high E because it's what Andrew Lloyd Webber wrote." "No" replied Rosie, "it's what I wrote! It was my suggestion that Carlotta would sing that note because back in 1986 I had it in my voice, which I no longer do, so let's get on with me singing the lower option now." That may be apocryphal but it's a nice story nevertheless. Interesting story. Not sure when this story relates to or how many times Rosemary Ashe returned to the role of Carlotta, but she played Carlotta on the first occasion I saw Phantom in London (it was either 1990 or 1991 - can’t quite remember). I was so excited to see her as she was fantastic on the cast recording. As far as I remember, she sang every note as written, though she wasn’t anywhere near as ‘polished’ as her voice appeared on the recording. I think she actually sang all of the notes that appeared on the recording though.
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Post by Scswp on Dec 11, 2017 19:08:02 GMT
Not the greatest picture tbh. Kerry looks very old in it. I like her as a singer in concert, but I really don’t rate her as an actress at all. Maybe she’ll surprise me?
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321 posts
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Chess
Nov 27, 2017 17:24:40 GMT
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Post by Scswp on Nov 27, 2017 17:24:40 GMT
Mildly odd at "Elaine Paige In Concert" yesterday when she sang "I Know Him So Well" - her part only... nobody putting in the other lyric. Strange. What do you mean? Do you mean Elaine sang the first verse, but the second verse was completely unsung/orchestra only? That’s very weird!
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Post by Scswp on Nov 15, 2017 16:34:47 GMT
I do wonder what Angela Lansbury and Imelda Staunton would have been like in this role? Personally, I think they both would have been great. I’ve never seen Lansbury live, but I have seen Staunton. I actually think Staunton is a better actress and singer than Glenn Close and I think she would make a magnificent Norma.
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