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Post by nash16 on Feb 19, 2024 1:00:50 GMT
Tory cuts to the running time (& NHS) have not been factored in yet.
(Although the full cut they gave the show on Saturday night was said to be “too severe” by some backbenchers)
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Post by nash16 on Feb 18, 2024 12:28:49 GMT
Cancelled last night, so we went to see The Mirror instead.
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Post by nash16 on Feb 17, 2024 23:12:49 GMT
Zero buzz about this though eh. Yeah, I just can’t past all the issues with MJ’s personal life. Yes, the music’s good, but I’m not not interested in sitting through a biographical account of his life when all the questions remain about his involvement with minors… I know nothing was proven in his lifetime (he paid a lot of the accusers off), but still. Not for me. Exactly this. So weird that so many breezily overlook it all. But the connection to his music must outweigh the morals… Apparently the show does address it, but fleetingly.
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Post by nash16 on Feb 16, 2024 12:20:26 GMT
Relatively small venue and people really like the concept i guess! Sure, but Benjamin Button didnt become a sell out until after it opened (and that had a prior run, good word of mouth, and an Olivier award winning star in the lead) so I'm just...confused as to what's set the public's interested alight It has quite a specific target audience, which I think has guaranteed it selling well/out.
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Post by nash16 on Feb 16, 2024 0:12:48 GMT
There tonight at the “Official” opening.
Sadly disappointing, with only moments of Farber flair and detail.
Sapani’s Lear lacked rage, force, purpose. The “press conference” land distribution scene felt cliche and old hat. We got little sense of the why and wherefores, so had little to care about going on from there. His best bits were in the second half when mad. More of a mental illness than a physical rage. But Yaël hasn’t got the power out of Sapani that character needs.
The onstage violin players were nice, but it’s almost condescendingly, relentlessly underscored throughout, the worst when any emotional scenes arise. Not as bad as Oppenheimer in that respect, but getting close.
Gloria’s Cordelia was a standout: in trousers, as opposed to G&R’s long dresses; her father’s daughter, and in very little need of a man by her side. She was excellent.
Unfortunately Yaël has fallen into the trap of hiring singers who can act, and therefore we have Fra Fee launching into completely unnecessary songs, and, of course, taking his top off then finding it very difficult to work out how to put said top back on... Cordelia sings too, beautifully, but…why?
Clark Peter’s spectral Fool was great. Almost like a memory of a friend of Lear’s long gone. Edgar was fine. Gloucester likewise. (Why they’ve got him climbing a piano for a cliff is…?). Faith Omole’s Regan struggled…
Overall, this was awkwardly funny at times, lacked a true sense of place and time, and, to sadly & most deadly effect, in Sapani’s underpowered Lear, has no centrifugal focus or driving point. Yaël’s Macbeth wasn’t great because she miscast the leads. Here it felt like Sapani had the goods, but they’re still untapped in this production.
3 stars.
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Post by nash16 on Feb 14, 2024 8:24:53 GMT
On Broadway directing Cabaret or in Amsterdam directing Julie? Curious about how this works 😆 She’s directing Julie Benko in Cabaret at the New Amsterdam theater on Broadway. Hope this ties everything up.
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Post by nash16 on Feb 14, 2024 8:07:13 GMT
Did anyone see Peter Jöback last night? Do we have any reviews? All That Dazzles gave him 5 stars.
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Post by nash16 on Feb 8, 2024 23:26:18 GMT
Oh my god they keep recasting that role Different reasons though. I bet the marketing department aren't pleased. Luckily the advertising poster for it has been Kenwright quality from the off and they’ve photoshopped every Edmund in and out 😂
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Post by nash16 on Feb 8, 2024 18:14:52 GMT
They will not be wanting to hire, of all people, Robert Icke. Too talented and successful ? Sadly neither of the above, but I don’t want to drag up what was discussed a couple of years ago about him.
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Post by nash16 on Feb 8, 2024 11:29:56 GMT
Leaving Autumn 2024. Interesting figures from The Stage article on this news that under his tenure: "Black and global majority artists have directed more than half and written 48% of all main house shows. The theatre said that off stage, the Young Vic had gone from 11% to 44% black and global majority staff across the organisation and 40% in senior management." Nothing on the commercial, or indeed artistic, success or otherwise of his tenure which I think has been mixed. If the YV have any sense they'll appoint Robert Icke to address those two issues. They will not be wanting to hire, of all people, Robert Icke.
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Post by nash16 on Feb 2, 2024 14:11:28 GMT
Well on Groundhog Day itself hopes for West End for this now gone as Music International have just announced licensing for this is available.
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Post by nash16 on Feb 2, 2024 14:08:30 GMT
Well this is depressing stuff, isn’t it?
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Post by nash16 on Feb 1, 2024 13:55:13 GMT
Somethign tells me this isnt the only Young Vic departure we'll be hearing about this month.... It’s so sad all of this is happening at the same time…
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Post by nash16 on Jan 31, 2024 22:48:04 GMT
Rehearsals had started so guessing something went down in the room (the play’s subject matter sounds as though it could be v sensitive when discussed) and she felt she had to leave?
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Post by nash16 on Jan 18, 2024 14:00:45 GMT
Stop Casting Great Actors In Musicals. We want Singers, not Actors. I want to sit and be able to close my eyes, for the whole show, and hear it sung beautifully. Perfectly. Breath control. The works. I do not go to a musical to see it acted well. I only go for the songs. There are so many of our musical theatre stars who can sing mightily, and act sort of. Why didn’t they check them? Jesus, Mary, & Joseph…and the wee baby donkey. This isn't a fair comment. Musicals are meant to make you feel something. It is no good just being a fantastic singer if the audience aren't connecting with the story. You should leave the theatre feeling a whole hoard of emotions. Some of the finest MT performances have been from people who in fact aren't the best singers in the world but who give the lyrics new meaning and pull you in. You just have to watch the Sondheim Gala to understand this. I fear you may have misunderstood that I was taking the mickey…
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Post by nash16 on Jan 17, 2024 12:16:23 GMT
Stop Casting Great Actors In Musicals.
We want Singers, not Actors.
I want to sit and be able to close my eyes, for the whole show, and hear it sung beautifully.
Perfectly.
Breath control.
The works.
I do not go to a musical to see it acted well.
I only go for the songs.
There are so many of our musical theatre stars who can sing mightily, and act sort of. Why didn’t they check them?
Jesus, Mary, & Joseph…and the wee baby donkey.
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Post by nash16 on Jan 11, 2024 23:59:43 GMT
3* from Arifa in the Guardian, who seems to have been the only critic who liked it within reason. Can we rename her “A-threestar” please? That’s all she ever gives. Even to this.
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Post by nash16 on Dec 28, 2023 18:21:36 GMT
I think the less Miranda sings the better - her character is meant to be aloof and above it all....not a personality that lends itself to a showtune....a song at the end when her character unravels a bit would be perfect. She needs a wip-smart, witty patter song that deconstructs the fashion world. I’m imagining a “You Are What You Wear” number, a la the American Pyscho musical:
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Post by nash16 on Dec 28, 2023 18:16:13 GMT
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Post by nash16 on Dec 21, 2023 23:33:22 GMT
I’m slightly worried about this transfer.
Obviously many people liked the show at the National, but so many of that cast are no longer staying with the show for its move across the river, including vital players like Maimuna.
Also, the way the NT are advertising the show with that image of when everything kicks off (which must make up all of 2minutes of the show, if that), making people think it’s an explosive, all guns blazing show, when it’s anything but.
It all just seems very…muddled.
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Post by nash16 on Dec 15, 2023 22:28:11 GMT
I am enjoying seeing Luke Thallon grow up. I first saw him in the Guildhall production of Crazy for You back in 2017 (so his singing ability was no surprise to me). He was such a ball of energy in that. My eldest son is one year younger than Luke and so I know just how much people mature in their early twenties. It's a real pleasure to watch. Isn’t he wonderful? I fell in love with his acting on the spot while seeng Leopoldstadt, he nailed both characters that could not be more different and just made we weep in the end.. What a discovery I thought, and since then I try to see him in things.. such a shame he’s not extended his talent onto tv and films just yet.. Wish for more chances to watch him perform! Looking forward to this though.. didn’t know he could sing! Wondering, is there any footage from that Crazy for You maybe? I was lucky to see him in Crazy For You, and the fact he could tap dance like a dream, as well as act that well... Also heard that he has little to no interest in TV/film. He loves theatre, and wants that to be his home. So refreshing. Great actor.
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Post by nash16 on Dec 12, 2023 13:06:47 GMT
Love her. But so sad that she’s reduced to playing the Park Theatre. Did her film career ever recover after the conviction?
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Post by nash16 on Dec 7, 2023 19:18:56 GMT
The interval has been cut and the running time is now a mere 75 minutes straight through. Wondering how long until the scripted show is cut to 0mins, and they just let people in and say it's a ghost onstage.
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Post by nash16 on Dec 7, 2023 10:25:25 GMT
Just found one £12 and several £25 tickets for 25/1. Not sure if returns of if they release them bit by bit. They weren't there yesterday. There’ll be more returns probably given the reviews.
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Post by nash16 on Dec 6, 2023 19:32:15 GMT
Lots of tickets including £20 stalls back for both shows being filmed performances for NTLive recording on Wednesday 13th December.
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Post by nash16 on Nov 30, 2023 21:14:04 GMT
The scenes at Shenton Towers when one of those dastardly bloggers gives this a rave review and gets their quote on the marquee! I'm actually desperate for one of those bloggers to give it a 5*!
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Post by nash16 on Nov 30, 2023 15:54:20 GMT
It was a nice evening out, but not enough to warrant a transfer, surely? Not starry enough either.
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Post by nash16 on Nov 26, 2023 14:24:07 GMT
They kept the National newspaper reviewers away for a reason.
It will get massacred if it come into town. But they’re probably relying on coach parties to save it if it does happen.
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Post by nash16 on Nov 26, 2023 1:12:44 GMT
The first preview was on Wednesday of this week, wasn’t it? First preview tonight! Around 1 hour 50 min no interval Was very funny in places. Some black out scenes a little long and people nodded off. Was interesting and fun overall with good acting. But not as good as the Flick
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Post by nash16 on Nov 25, 2023 18:22:11 GMT
If it evokes her Romeo & Juliet, I’m definitely out. That was appalling. Saw the matinee and wow - absolutely astonishing. As I said earlier in this thread, I'm a big fan of both Birch and Frecknall, so was prepared to be disappointed, but from the moment the set was revealed, I was in awe. I understand the criticisms about Harriet Walter, but it isn't her play, at least not in this rendering - as Adela, Isis Hainsworth is full of fire and resistance, and the supporting performances from Eileen Nicholas, Lizzie Annis and Pearl Chanda are extremely powerful, plus at times surprisingly witty. Frecknall's signature physicality and symbolism are haunting, invoking her Streetcar and Romeo and Juliet, while Birch employs the layered and rhythmic style of Anatomy of a Suicide and the latter section of Revolt, all to great, great effect. I felt it in my body - the repression, the simmering desire, the ambition to escape. "Intense" cannot cover it, and I will be thinking about this play for a long time. An enthusiastic response from today's audience - I do wonder if the "muted" reaction described above is due to shock at the force of the ending. 5 stars from me - and I doubt I will be the only one.
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