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Post by Mr Snow on Mar 15, 2020 5:52:58 GMT
I take it you didn't see the production at the Royal Opera House?! mostly great cast, big orchestra, great set but... At least you got to see it! We travelled down from Norwich, had a hotel booked and after the first ten minutes or so the production was halted. A torrential rain storm had flooded the back stage area. We all milled around in the bar for a while, before we were sent off into the night. Ticket refund only. We booked to see ITW at Regent's Park. Hotel etc. Got down there, rain, matinee abandoned! Luckily (for once), we were booked for the evening performance, which went ahead. Phew! Would it be rude of me to ask you keep the group informed of which date you book for? 😈
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Post by Mr Snow on Mar 14, 2020 11:11:07 GMT
So they'd like my money 14 months in advance for a a singer who is a)prone to cancel and b)arguably already past his best and possibly in decline? (wouldn't mind but they could give a hint of what the programme might include could be tempted by something I've never seen before. ) I've made my choice.
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Post by Mr Snow on Mar 14, 2020 11:02:18 GMT
Bet there will be no references to "Mice" in the upcoming revival of Pal Joey. He'll still be shown as a heel, but I'm sure the sexism will be turned down a notch or two. It's very dated and one reason why we don't see it more often. It was fully intended to be one of the first musicals to show dark characters and even if smart heels don't use such language today they are still about. As someone above said there's a case to put on things exactly as they were written, but just now to present this verbatim would have many folk in the audience shaking their heads in amazement that this was acceptable as 'old fashioned' on the west end only 40 years ago. The original productions was considered truly shocking, not because of the sexism, but because it showed a darker side of life - its sexism was a given. It occasioned one of the most famous reviews of all time "Although it is expertly done, how can you draw sweet water from a foul well?" Brooks Atkinson.
Hopefully the 'cougar' part restores her original lyric.
I couldn't sleep And wouldn't sleep Until I could sleep where I shouldn't sleep
not as Hollywood and Frank, Ella etc have it.
Couldn't sleep and wouldn't sleep When love came and told me I shouldn't sleep
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Post by Mr Snow on Mar 12, 2020 14:21:11 GMT
At the interval at Butterfly tonight a couple next to me AND a couple behind me left because they didn't know it would be in English lol "Did you know?" "Wasn't expecting that" "Did you see anywhere it said it was in English?" I wonder how often this happens at the ENO If only Covent Garden would go back to their old, circa 1847, name of Royal Italian Opera Company all confusion would be ended.
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Post by Mr Snow on Mar 7, 2020 20:48:57 GMT
Checking it must have been 1981 when it knocked me sideways.
Today on here it's hard to appreciate just how 'unhip' a classic musical was. With friends I'd been going to see David Bowie, Led Zeppelin, The Who, The Dammed, Elvis Costello, Queen etc etc etc
But if I had a time machine this is what I'd go back to see.
A year later there was a production of another R&H show, On Your Toes and I'd discovered Opera.
Still go to the occasional 'rock' concert but as far as I'm concerned, I've never looked back.
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Post by Mr Snow on Mar 7, 2020 20:24:58 GMT
I will swear it was the Albery, somewhere I have the programme. I'd been to plays, concerts etc but nothing prepared me for my first musical. Went 5 (6?) Times that summer. Still have the cassette the cast made.
Guessing 1978 (will check).
The young Dennis Lawson and the DIVINE Sian Phillips will be tough to better.
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Post by Mr Snow on Mar 6, 2020 10:52:31 GMT
Avoid rear stalls. Set and projections are on two levels and you will be even more confused by the plot!
Busy production with great acting which helps cover a weak set of songs.
Overtures were created for a reason, they put the melodies in your ear so they are familiar when the song appears. Like most of the audience (Not last nights one) the music was mostly unfamiliar to me. Even the big no only works first time around as the second time minimises the fine keyboard riff that drives You're nothing without me. Rebecca Trehorne steals the show with a knockout You can always count on me. Most of the rest of the score is entirely........
PS Ms Craig is either a very cool fish or she decided that Gabby has a similar range of emotions to Bobbi (x2).
Despite the cold water above, we enjoyed the show and if the right price tickets come up, a second visit might be on the cards.
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Post by Mr Snow on Mar 5, 2020 14:02:19 GMT
Have a passing acquaintance with a lady who provides marketing advice for several of London's leading companies. Most of her work is on the initial campaign to get a new play noticed.
The Companies often bring her in because the Director isn't listening to them. The Director always thinks he(!) has come up with a ground breaking radical interpretation and the marketing should focus on social media to attract a new Youth audience.
The Marketing Consultants job is to point out that with X as the star and a no of seats priced at £80+, they need to attract the affluent audience in suburbia who will travel to a theatre known to them, as long as there is a well known star, preferably in a piece they've heard of.
She considers it diplomatic not to mention that nearly all productions are entirely predictable in their 'radical' ways.
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Post by Mr Snow on Mar 4, 2020 14:16:07 GMT
Lebrecht/Papanno full interview here. beta.spectator.co.uk/article/antonio-pappano-on-diversity-a-new-ring-cycle-and-defending-verdi-from-dodgy-directorsFWIW Papanno is absolutely right, the sound in the Slips is at least as good as anywhere else in the theatre. I've had so many happy nights up there. Used to go A LOT. There was a real community of people who went every night Tickets were about £2 (1980's). I remember Jeremy Issacs moaning that he'd tried to introduce more affordable seats but they were inevitably snapped up by the same few people. One of my happy memories was in the Upper Slips watching Il Trovatore with some up and coming singers named Carreras, Lloyd and Mattila. At the curtain call the Lady next to me produced a box and from it showered the Tenor with Red Carnations- No thorns?) at his curtain call. The next time I went the regulars informed me that it was his wife! Now when revisiting an revived production, or sometimes to see it twice in one run we tend to join Les Enfants du Paradise. It is rare that you can't easily see the front half of the stage where most of the action will take place.Best value Theatre tickets in London.
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Post by Mr Snow on Mar 2, 2020 14:52:43 GMT
Madame Butterfly Sat night was very nearly sold out!
If you haven't seen this production its really worth seeing and hearing Natalya Romaniw this time - incidentally she's from Wales!
Wonderful singing from the ladies in just the most ravishing production.
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Post by Mr Snow on Mar 2, 2020 14:45:46 GMT
Just guessing here. At the 'hottest ticket of the year' Covent Garden Yesterday.... Box Auditorium left. Was that the designer Valentino? Together with two blonde models, one in Red and the other in Black. The ladies stood proudly at the front of the box and took a lot of selfies in the interval. I would never have noticed them if Mrs Snow hadn't pointed them out. Passing them on the way out, the girls were well over 6' in heels, at least 6" higher than the well tanned, suited and booted gent accompanying them. If it wasn't Valentino it was likely the head of a family business from Palermo. (The selfies became part of the Drama. The Director had a camera on the crowd before the Opera, projecting the house back at itself onto the safety curtain. Many made sure they got their picture of themselves projected on their phones. In act 11 the audience became part of the drama in effect warning us things were not as bright as they seem.)
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Post by Mr Snow on Mar 2, 2020 14:33:57 GMT
An actor told me that at drama school he was told to use his middle name and place of birth. That would make me George Hackney. Could be worse. Richard Roscommon! I think I'll stick with Mr Snow.
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Post by Mr Snow on Mar 2, 2020 11:29:49 GMT
I guess that's the price of keeping Papanno?
I thought the last one was still serviceable with (Spoiler Alert) the incredible fireburst at the end a real coup de theatre (My eyebrows have just about recovered). With sets and design costs for 4 complete Opera's you might expect it to get more than 3(?) run outs especially when the no of performances are limited to save the signers. Last used in 2018 so its not as it it's been consigned to History.
Doubt I'll ever enjoy a run more than my first Barenboim at the Proms 2013. A concert affair with only a few effects added.
No doubt about it, Opera is illogical.
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Post by Mr Snow on Mar 2, 2020 9:50:12 GMT
However, Lise Davidson as Leonore was the real star of the afternoon. An absolutely ravishing voice that soared over the orchestra and seemed effortless. Shivers were sent down my spine almost every time she opened her mouth to sing. She also has an excellent presence on stage. I expect everybody will be saying the same thing, and I will certainly look to hear her in other things after this. Count me as another saying exactly the same thing. Astonishing.
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Post by Mr Snow on Feb 28, 2020 11:58:49 GMT
On another Forum there's a current discussion of a Maria Callas Hologram tour doing the rounds in the States. Same issues.
Conclusion its not for true fans or sceptics. But for a new audience who want to see what the fuss was about, it seems to work OK.
This is how the technology worked for that tour.
"The visual part of the Callas hologram is created through the acting of a “body double” who imitates the style of Callas. Facial features and other aspects of the performance are later changed through the use of computer-generated imagery (CGI)."
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Post by Mr Snow on Feb 23, 2020 11:57:10 GMT
Allow me to reminisce..
Years ago we employed a charismatic Danish guy who was full of tall stories. Hed travelled everywhere, met everyone and it took us a long while to realise he was down on his luck due to alcohol.
The guys used to tease him about some of his stories but hed add the sort of detail that would leave you doubting. One day he told several of us about his time in Las Vegas and his friendship with Dean, Peter, Joey and Sammy. He insisted that if wed seen them all live, like he had, wed agree Sammy was the talent. At this he was openly ridiculed and I had to change the subject. Next day he turns up with several old pics of him next to Sammy, them hugging and Dean clearly in the background!
Dont like tribute acts or jukebox musicals. Struggling with the idea of someone playing Davis Jr.
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Post by Mr Snow on Feb 22, 2020 22:01:07 GMT
Go. It should be on every Opera lovers Bucket List.
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Post by Mr Snow on Feb 22, 2020 21:55:33 GMT
Luisa Miller. I thought this was fantastic. Orchestra, singers, especially the principal trio and chorus all on terrific form. I also really liked the production. My operfrau complained that its 'very German'. Yes it uses tricks but I thought all but two in the first act fitted perfectly. Best night at ENO in a long while. To each their own. Yes the singing was consistently excellent and the diction really outstanding - didn't look at the surtitles all evening. What a fussy production with a million things going on at once and stupid me not bright enough to figure out what they might have to do with the drama. Distracting is not the word. Then like Aida, it all becomes small scale with duets sung together...ahh not together but across the biggest stage in London at each other!(please I don't need facts corrected here , I'm on a roll. and anyway for some reason they made the stage even bigger than normal so the duets could be more like a tennis match!) The Director was big on visuals but terrible on stagecraft. By the end I'd just tuned out and an Opera I'd waited 40 years to see live .... WT XXXXPFT!!!!!!!!!!!! Auditorium about a 1/3 full for a (albeit lesser known) Verdi. The management consultants will be back soon if this continues.
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Post by Mr Snow on Feb 11, 2020 11:14:05 GMT
Whilst agreeing with the point made, can I add I'm still a little sad that I doubt I'll never again get the chance to see (major) productions of Pal Joey or Camelot...to name but too...
I think someone really smart might be able to rewrite some of these? Problematic I know, but if Bobbie can successfully change gender then there may be ways to reinvent and reveal some of the gold (songs mainly) that look like being lost.
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Post by Mr Snow on Feb 10, 2020 14:27:50 GMT
A quick flick through this thread shows scant thoughts for his wife.
I don't understand the politics of declaring yourself gay, rather than bi; but it does seem shes the one who faces a painful uncertain future whilst wondering quite who she spent the last 27 years with. That's painful.
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Post by Mr Snow on Feb 5, 2020 14:35:36 GMT
ENO, Charles Court and which is the other one? Sasha Reagan's at Greenwich. As an old fart it would give me great pleasure if YOU've forgotten this one? I thought you went to it?
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Post by Mr Snow on Feb 2, 2020 10:12:10 GMT
Ok, if you insist Hercules, Handel Iolanthe, G&S Nixon in China, Adams Peter Grimes, Britten King Priam, Tippett Tosca, Puccini The Valkyrie, Wagner Cosi fan Tutti, Mozart ENO's Instagram feed is currently full of Iolanthe. I remember the critics loving it but most of us on here not! I'm much more interested in this one www.charlescourtopera.com/iolanthe.htmlYou wiat years for an Iolanthe then 3 come (almost) at once! (Thanks for sharing)
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Post by Mr Snow on Jan 28, 2020 22:41:45 GMT
My childhood was in the 70s too. I dont recall being taught by anyone old enough to have fought in the war, i didnt know anyone who's parents had either. With you on that TheatreMonkey - at school in the 70's I had several teachers who had fought in the war, one had been a Squadron Leader and another had been in the army and had his hearing damaged by artillery. Anyone who was 20 in 1939 would only have been in their 50s throughout the 1970s so it is perfectly possible. We had a maths teacher, Mr Stephenson, who we all respected as a terrific man - a great teacher. At the end of one term he got drawn on his time as a pilot n the RAF. He said he was embarrassed to admit it, but he'd never felt more alive than when he shot down an enemy plane. He had spent 40+ years wondering what happened to that young pilot,"who must have been very similar to myself". (This was late 70's and he was putting off retirement.)
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Post by Mr Snow on Jan 13, 2020 11:58:48 GMT
Is it fair of me to state that Corbyn, RLB, Momentum etc do not have any belief in "free market capitalism" as a basis for paying for state expenditure? As Will Hutton wrote the week after the election, more equality does not require a massive shift to state ownership. I've been looking with interest at the Nordic Model. Definitely the parties in power are more Social Democrat/Centre Left than Trotskyists. It is a measure of how far Momentum have control of The Labour Party that so far almost all the candidates for leadership are careful to show praise for Corbyn, rather than setting out a new direction for the party. I would vote in a General Election for Jess Phillips. In every interview I've read she's expressed her own strong opinions, while recognising the need for cooperation within her party and her country. Read your last paragraph again. Is that possible to type with a straight face? Didn't you read what Nicholas said? He brought lots of HIS opinions about what the Labour party needs to be, without mentioning Phillips directly. I brought MY opinion and tried to justify why. YOU bring nothing but insult. Goodbye.
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Post by Mr Snow on Jan 12, 2020 15:00:56 GMT
Great idea. Two more.
Just imagine if you were the boss of the Musicals unit of the biggest Studio the world has ever seen, and you had previously been a songwriter, you might conceive of a way of bringing some of those songs together.
I bet you couldn't have imagined it turn out as well as Singing in the Rain.
All but two songs were previously little known items from the back catalogue of ARTHUR FREED and Nacio Herb Brown.
Production was delayed as Gene Kelly was busy at work on another 'portmanteau' musical, An American in Paris.
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Post by Mr Snow on Jan 12, 2020 13:14:15 GMT
Votes by Labour Leaders: Jeremy Corbyn 2019: 10,295,607 Jeremy Corbyn 2017: 12,878,460 Ed Miliband 2015: 9,347,273 Gordon Brown 2010: 8,609,527 Tony Blair 2005: 9,552,436 Tony Blair 2001: 10,724,953 Tony Blair 1996: 13,518,167 If we now take that Jeremy Corbyn is the political equivalent of the anti-Christ we can only assume with the increasing Labour vote in the 2000’s there is increasing support for ‘far-left’ policies. I am with Nicholas , Labour needs to remain a pure Left Party and develop a true alternative vision to the Tory Party who have dug a monsterous hole for themselves with Austerity and Brexit and if successfully held to account the house of cards they have created will collapse. To me this I believe was the failure of the Labour strategy, Corbyn in the same way as Leave supporters believed his/their position was so obvious that only the message needed to be communicated and not the nullification of the opposing view. In all honesty I am not not sure of all the ‘favourite’ contenders who will be able to counter the well honed Tory propaganda machine where untruths are so prevalent that traditional Politics has been undermined to such an extent that political discourse is futile. (Labour misleading ads 0, Tory misleading ads 88%) My choice will unlikely make it through the Parliamentary process and is such a ‘left-field’ candidate, for him this may be an election to lose but do hope his time will come. ‘far-left’ is a misnomer, the Labour strategy is to align ourselves with the norm in Europe, especially the Nordic Countries which consistently record the best living standards and happiness levels. The Nordic Countries combine free market capitalism with a comprehensive welfare state and collective bargaining at the national level, which offers a healthy, safe, and well-grounded lifestyle. The Nordic Countries also have a high percentage of workers belonging to a labor union, shorter days in the office, and longer paid vacations, freeing up more time to actually enjoy life. Nordic people don’t mind the tax burden so long as it directly correlates to their overall well-being. The next Leader needs to promote this vision, educate people there is another way, and break the myth that Socialism equals Communism. Is it fair of me to state that Corbyn, RLB, Momentum etc do not have any belief in "free market capitalism" as a basis for paying for state expenditure? As Will Hutton wrote the week after the election, more equality does not require a massive shift to state ownership. I've been looking with interest at the Nordic Model. Definitely the parties in power are more Social Democrat/Centre Left than Trotskyists. It is a measure of how far Momentum have control of The Labour Party that so far almost all the candidates for leadership are careful to show praise for Corbyn, rather than setting out a new direction for the party. I would vote in a General Election for Jess Phillips. In every interview I've read she's expressed her own strong opinions, while recognising the need for cooperation within her party and her country.
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Post by Mr Snow on Jan 11, 2020 11:34:33 GMT
Great to see one of my favourite threads revived with two new angles.
Sadly I don't play or sing so I haven't committed the following to memory, so I offer snatches in the hope some of you can help with the rest as Google is showing its limitations..
Benny Green used to refer to alternate lyrics that players would pass around. Nightclubs would seem to be the ideal home for these parody's and I'm sure some of them were not suitable for retelling on R2 Sunday Lunchtime's, but one he used to quote was a parody of the 42nd St song which started
"Every day, every night .... You're getting to be a Rabbit with me."
Second time around the Chorus would add the line
"...Can't take it"
(There's also a comedy spoof by Alan Sherman where the object of his affections is a real 'bunny'.)
A couple of decades ago, Andrea Marcovicci used to do an annual stint at Pizza on the Park. One of her encores would feature the Pianist tapping out a familiar riff and her face would drop..
"New York, New York he's playing it again."
Followed by a rewrite anti hymn to her adopted city.
But the most famous rewrite (not really a parody) is surely this rewrite by Sammy Cahn of his own title?
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Post by Mr Snow on Jan 11, 2020 11:00:11 GMT
For those who remember having to buy a ticket at the desk or from a machine every single journey, it's true - this is way better. Or the bus driver/conductor who would accept exact change only!
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Post by Mr Snow on Jan 11, 2020 10:54:09 GMT
I get so tired reading how s**** everything it today. But IMHO cashless payment (oyster and other means are available) and public transport is a marriage made in heaven(metaphorically speaking as I wouldn't wish to offend anyone ).
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Post by Mr Snow on Dec 28, 2019 11:35:56 GMT
Please help. I am starting to worry about my attention span, but seeing this last night I can't recall hearing the title song? It's listed in the programme, for after the interval, and one of my favourite Dylan songs, but? ? Thought it was an entertaining mess. Too much plot meant much 'soap' like dialogue but I came away intrigued and may return. I often complain that plays have 'too many words' ( )and this was certainly enlivened by some great singing and interesting choices of songs.
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