1,210 posts
|
Post by musicalmarge on Oct 6, 2019 6:27:21 GMT
Sam answered a fan question about if he’ll be doing 8 shows a week saying it’s both the matinees he’ll be taking off. Why can’t people do 8 shows a week anymore? He’s been trained to do that and once the score is vocally set in his mind/body/voice box he will be fine. Drama school students belt their lungs out for 10 hours a day!
|
|
1,210 posts
|
Brexit
Oct 3, 2019 12:54:01 GMT
via mobile
Post by musicalmarge on Oct 3, 2019 12:54:01 GMT
Why on Earth is this chat on a theatre board? How it affects the arts?
|
|
1,210 posts
|
Post by musicalmarge on Oct 2, 2019 9:58:27 GMT
I thought the same watching it. Why is nobody bothered about this missing boy? Why didn't they check his documents when starting the job (I cannot even go to an interview without bringing my passport) In all seriousness this is pretty poor. Kimberley Walsh is the saving grace because she can sing, act and is very charming but Jay is really struggling to connect with audience, Wendy Peters shouldn't be playing the mother of a newborn baby and thank the lord for Matthew Kelly; one of the UK's finest actors. 1 Why aren’t people bothered about a missing boy 2 If his friend knows he is being kept - why not pressure him? 3 What happened to the father? 4 What happened to the policeman! 5 How did Josh get the deposit for the huge penthouse? 6 How much was josh seriously getting paid as a “toy tester?” 7 Why isn’t the mother a quivering wreck as he son is missing instead of singing sweet songs about stopping time? 8 We didn’t fancy women 10 years older than us aged 13 so how did the love affair story even make sense? I have soooo many questions with the holes in this show!
|
|
1,210 posts
|
Post by musicalmarge on Oct 1, 2019 22:31:53 GMT
I saw this tonight and LEFT IN THE INTERVAL!!!
What total nonsense. What a dreadful comedy!
|
|
1,210 posts
|
Post by musicalmarge on Sept 30, 2019 21:52:03 GMT
How sad.
And Clockmakers Daughter hasn’t seen the light of day....
|
|
1,210 posts
|
Post by musicalmarge on Sept 30, 2019 21:51:03 GMT
Not really surprised by this but disappointing all the same. Seyi Omooba will take the Curve Theatre in Leicester and Global Artists to court for breach of contract and religious discrimination. www.bbc.com/news/entertainment-arts-49881027I’ve heard horror stories about Global Artists over the years, treating people horribly.
|
|
1,210 posts
|
Post by musicalmarge on Sept 19, 2019 2:35:38 GMT
Having read the book and having just seen the first production photos, I have also asked myself why something so inherently British - in terms of setting, cultural references, language, not to mention the composers and part of the cast - is seeing the light across the pond. Here are a couple of possible answers I've come up with: First of all, it may be that (in general) there is an expectation that a production that's been tested by US standards and audiences could stand a better chance at a longer life (and more incarnations). It was quite clear to me when I saw 'The Prom' on Broadway that there is always going to be an audience for a show that's about inclusivity and the importance of being your true self, that has a positive LGBTQI+ angle and a feel-good vibe, that comes with hummable tunes and a lot of energy... Sure, producers may at some point need to pull the plug on it, but it's a kind of show that's always going to be received warmly by the (US) theatre(going) community. Secondly, it seems to me that right now 'Becoming Nancy' would have a bit of a potentially counterproductive overlap with 'Everybody's talking about Jamie'. Both have an exquisitely British angle on a queer coming of age story with a similar working class setting. Both plots focus on a teenage male lead who has to deal with school bullies, has a best girl friend who supports him unconditionally... I mean, both follow the lead as he prepares to appear on stage in front of an audience wearing a dress! Personally, I'd be absolutely happy for these shows to be on in neighbouring theatres on Shaftesbury Av., but I can see why a producer would want to first test 'Becoming Nancy' in a more "neutral" context where there's no direct "competition". American market has more money. Simple!
|
|
1,210 posts
|
Post by musicalmarge on Sept 18, 2019 6:46:41 GMT
I was there last night and it was easily my weakest theatre outing this year. It was OK, sort of entertaining but nothing special and I kept checking my watch. There seemed to be lots of potential with it but everything just seemed mediocre. The set was often the best bit but it was mostly overwhelmed with a too busy stage. Often it was just a blur of set, people on stage and unmemorable songs. Singing wasn't bad but wasn't great either. I suppose it will work for families but otherwise I have no reason to specifically recommend this show. I don't regret going as it wasn't awful but i don't recommend it Agreed
|
|
1,210 posts
|
Post by musicalmarge on Sept 17, 2019 23:55:42 GMT
it comes across like Madeline McCann the Musical I know you're trying to be funny, but that's not. I’m not trying to be funny. In essence Big the musical is a serious story about a missing child! What happened to the father after the first scene? It’s far more serious than the shallow cheesy piece makes it out to be. What happened to the policeman? Why didn’t they question Josh’s friend more? Their child had been kidnapped in their eyes. As for the whole love affair weird story it is basically a weird story about a 13 and 30 year old woman!
|
|
1,210 posts
|
Post by musicalmarge on Sept 17, 2019 23:06:37 GMT
“BIG” the musical opening (press) night on the glittering West End. 🎭 Amazing seats on the second row of the stalls and it was fun for everyone to see oodles of celebrities and popular names within the West End community. Frenchy from the Grease movie was there (her husband co-wrote it). As for the show? Well.... 😬..... I always loved the Tom Hanks film and the Broadway Cast recording from 1996 but this new London production is sadly clunky throughout, rather miscast (I’m not sure Matthew Kelly knew his lines!), it was badly directed and over acted (Wendy thingy from Coronation Street was awful and out of time), cheesy, a tad amateur and well..... disappointing. The story and book is a strange piece about a missing child - it comes across like Madeline McCann the Musical with a subtextual peodeophile undertone! There IS a great musical in there somewhere, but it wasn’t on stage at the Dominion tonight. Kimberly Walsh looked sensational and sang OK (as did the lead HOT guy) but their acting was “painting by numbers” - a bit like the entire awkward cast. Piano dancing sequence aside, it’s a sweet and pantoesque 6/10 from me! #sticktothefilm #theatrepig
|
|
1,210 posts
|
Post by musicalmarge on Sept 16, 2019 19:06:08 GMT
Wow well that was something special wasn’t it ? Goosebumps! Getting slight ‘Aida’ vibes too. Reckon they’ve got a hit on their hands here. Every theatrical bone in my body cannot fathom why Aida didn’t come to London. If ran on broadway for 5 years. One of my favourite shows ever. Back to POE - it looks amazing!
|
|
1,210 posts
|
Post by musicalmarge on Sept 16, 2019 14:32:16 GMT
Just checked songs from Kids From Fame and was reminded of the brill,I Still Believe In Me...classic It’s gonna beeeeee a long niggghhhtttt... damn I love those songs! Back to Turbine! Ha
|
|
1,210 posts
|
Post by musicalmarge on Sept 16, 2019 12:24:51 GMT
High Fidelity HI HI Fedelllllllityyyyyyy! Oh... wrong song. Haha I know it’s all tied up in publishing rights etc, but why can’t we have a ‘Fame’ musical based on all of the ace songs from the first few series of ‘Fame’? STARRRRRMAKEEEERRRRRRRR! I know right?
|
|
1,210 posts
|
Post by musicalmarge on Sept 16, 2019 12:15:02 GMT
High Fidelity HI HI Fedelllllllityyyyyyy!
Oh... wrong song. Haha
|
|
1,210 posts
|
Post by musicalmarge on Sept 16, 2019 12:13:56 GMT
Wow!!
|
|
1,210 posts
|
Post by musicalmarge on Sept 15, 2019 22:14:34 GMT
This is just a fun easy musical. Very traditional in style. I must admit, I was thinking I’d made a mistake booking this. I probably paid too much for front row, even with a discount. But it turned out good. There just aren’t enough musicals like this around. Singing, dancing, not too taxing. But everything needed to draw in the families. Apart from, there were few children there. But it was around two thirds full in the Stalls. A great cast. The kids on stage did well for what may have been their first show. Good applause for Matthew Kelly, who has real presence. Wendi Peters only really cameos, but sings well. Kimberley Walsh sings fine. And Jay McGuinness has a real childlike quality about him, dances well, mostly sings well and even has a scene in his superhero Y-Fronts. As a bonus Eddie Myles is on stage too, looking crisp with longer hair and even has a few lines. Finished about 10:15pm. It won’t win any awards and the plot is thin, but it’s a fresh fully staged musical and a pleasant night out. Something that’s really lacking on the West End right now. A big musical is lacking in the West End? I suppose Lion King, Waitress, 9to5, Mary Poppins and Joseph don’t count? Hahaha
|
|
1,210 posts
|
Post by musicalmarge on Sept 15, 2019 22:11:46 GMT
The reviews for this have been sensational! 4 and 5 stars from all!
|
|
1,210 posts
|
Post by musicalmarge on Sept 13, 2019 23:23:45 GMT
Will we have English or American accents?
|
|
1,210 posts
|
Post by musicalmarge on Sept 13, 2019 23:22:15 GMT
But isnt the purpose of this theatre to showcase new talent, new shows and stuff that's not been done before. It isnt there to produce well known shows and crowd pleasers. That’s why The Other Palace has failed and Paul Taylor Mills fired... The MAIN shows to come from there have been - BIG FISH, FALSETTOS, HEATHERS and EUGENIUS - which 3/4 are from America! Epic fail....
|
|
1,210 posts
|
Post by musicalmarge on Sept 13, 2019 22:47:54 GMT
Hahahaha so so true. Or an all female cast? Or underwater? Carousel is a bad decision. I’m still trying to get over the tedious Colesium Alfie Boe And Kathryn Jenkins production!
|
|
1,210 posts
|
Post by musicalmarge on Sept 12, 2019 21:55:14 GMT
Hopefully the fact that no future venue has been announced means this will quietly go and never be seen again. Hopefully something good heads into the Lyric following the refurb! GOOD RIDDANCE - WHAT TOTAL TRASH!
|
|
1,210 posts
|
Post by musicalmarge on Sept 12, 2019 8:54:12 GMT
I was also there tonight! Obviously I’ve been very vocal about the situation surrounding this, but I really did want to see it to make up my mind. I thought, during the opening number that all my worst dreams were going to be realised. Four Jews In A Room Bitching is a great number, but I absolute hated it in this production. Full of all the stereotypes you can think of with extremely messy and clumsy staging. Luckily, the rest of the show didn’t completely follow suit, but I still wasn’t completely enamoured like others have been, but I feel more like the few posters above me. The Stage review does echo most of my thoughts, however I thought Act 2 was incredibly strong so I wouldn’t be as harsh as 2*. Quite an empty audience, rather muted reaction with only a small, partial standing ovation at the end. The cast are very good. Laura Pitt Pulford was made for Trina and Oli Saville also very enjoyable. Daniel Boys was incredibly strong with the vocals but I agree that he was lacking in the acting department, which actually I agree was lacking somewhat across the board. For me, Joel Montague was miscast. He did not inhibit even a little bit of who Mendel is. Very over-the-top acting and really no truth to his character at all. The band are surperb! Are there monitors for the cast? I was at the back so couldn’t see, but a lot of entrances and cut offs from the cast were very messy. Anyway, what I think what has let this production down the most is the direction. It’s not good. It’s muddled, it’s messy, it’s clumsy and honestly - it’s inauthentic. I know many on here may dismiss my comments because of my feelings towards the cultural representation in this show. I can only say that I went into this with completely unbiased views and with so many rave reviews I was really looking forward to it. But I did not see myself represented onstage tonight and it made me sad. I really do think this production could have benefitted from a Jewish director, or least with a lot more research than was evident here. It seems as if she watched the 2016 cast, tried to slightly copy that but had to make it different, so made it worse. I’m currently watching that production to remind myself; there is just 1 Jewish person in the cast (Mendel), but with that and a Jewish director (James Lapine), it seriously makes a world of difference to this show. Tonight it was laboured and muddy, Act 1 especially. It felt like the characters didn’t even scratch the surface of who they were. But this should not take away from a mostly brilliant cast, very well sung and a very strong Act 2! It just could have been so much better if they had cared to make it so! What a ridiculous comment - it needed a Jewish director. Can only a Scouser direct Blood Brothers? Trevor Nunn did a sensational job on so many shows and he wasn’t the same religion as the source material. Maybe a Jewish director would have made a worse show? You never know. Our theatre industry is in a slippery slope and doesn’t seem to know the difference anymore between acting and “let’s pretend” and real life authentic documentary.
|
|
1,210 posts
|
Post by musicalmarge on Sept 10, 2019 22:36:24 GMT
Moulin Rouge is definitely going in from March 2021. I quite like some of the music from this. Well, Samantha Barks numbers anyway but the whole production looks so cheap, and we are sure to get an even more basic version here. Hahaa this! The set is the WORST! Cut out palm trees hahah
|
|
1,210 posts
|
Post by musicalmarge on Sept 10, 2019 22:35:18 GMT
Saw this tonight. First of all it is a rather strange abstract type of show with a mixture of a therapy session meets American vision of Russian classical and literary writers! I liked the staging at Southwark very much and the acting and direction was great / just that this show is not a commercial piece as such. It feels very lab and experimental and workshopy. Still glad I saw it. It’s very different that’s for sure!
|
|
1,210 posts
|
Post by musicalmarge on Sept 10, 2019 21:53:22 GMT
Was at the Southwark tonight. The move was meant to be Jan - which means March I was told.
|
|