996 posts
|
Post by nash16 on Mar 21, 2017 20:26:55 GMT
As Wickedgrin says, the show has not been reconceived - it's a revival of the 2001 Broadway revival, staged by the same people, director Mark Bramble and choreographer Randy Skinner. And why would they change what works so amazingly well? Certainly from the very first moments of the overture when the conductor's podium elevated and conductor Jae Alexander turned to the house, arms outstretched, the wildly enthusiastic audience was revelling in the recognition factor. And when the final chords of Lullaby of Broadway segued into the sudden rhythms of 42nd Street and the curtain edged up to reveal those countless dancing feet, a roar went up that could only be interpreted as welcome back to tap dance heaven! It's the show we were hoping to see. For a musical this big - a 36 member ensemble (24 ladies, 12 men) accompanied by a 19 piece orchestra - and this complex it was an astonishing first preview, flawless. Everything worked, the excitement never let up from those opening tapping feet right through to the huge post-bows production number (shades of recent discussions here) which brought down the house. The cast is terrific. Clare Halse is an archetypal Peggy Sawyer, pretty and petite, full of energy, a fabulous dancer, well matched by Stuart Neal's Billy Lawlor. Christopher Howell and Jasna Ivir are funny and effective as the comedy duo, Maggie and Bert, and, if there were any doubts about Sheena Easton's Dorothy Brock, put them to rest - she's excellent, loudly tempermental but retaining sympathy and, with her appealing smoky voice, really selling her songs. A new song has been added for her in the first act, the only change in the show I could detect. It's the torchy "Boulevard of Broken Dreams", a solo number, and she sings it gorgeously. But the standout for me is Tom Lister's Julian Marsh, by far the best I've seen in the role. He not only commands the stage and delivers his iconic lines - which, at this point, border on parody - with passion and conviction but he can sing! Thanks mainly to him the "Lullaby of Broadway" number in the second act totally stops the show, as it should. For once we have a Julian Marsh who deserves his final bow. I just kept thinking how amazing it has been to have taken in, within a few days of each other, two such fabulous and exemplary dance shows - each the best of its kind - as An American in Paris and now 42nd Street. From the sublime to the sublime. Lucky London. Tom Lister's Julian was the ONLY thing that didn't work for us. That's so funny. His singing was wonderful, but his acting was not very good, especially his delivery of certain lines. He was genuinely the only weak link in it for us though. The rest, heaven!
|
|
996 posts
|
Post by nash16 on Mar 21, 2017 1:35:45 GMT
So reductive to equate Oresteia with this. Almost to miss how directors borrow/pay homage/steal from each other and it is being sort of shock, like being surprised that politicians could be so biased towards one point of view. Nunn riffing off Peter Coe/Sean Kenny, Brook putting Brecht and Artaud in a blender to create Marat/Sade. Hell, was Katie Mitchell refracting Van Hove when she started using live video or was it vice versa? Some decent historical perspective please? Here's Andrew Haydon who opens his essay-review by pointing out moments of intersection between Icke's Oresteia and other European work and who then proceeds to ignore it because it - doesn't - matter. postcardsgods.blogspot.co.uk/2015/06/the-oresteia-almeida-london.htmlThat's even before we get onto the wholly different Vanya, 1984, Red Barn and such that pay no homage to Van Hove at all. It is not a shock that directors/artists borrow and steal. What is shockING is that people and the press have been lead to believe that Icke-man has been original a lot of this time in what he has presented to us. With Roman Tragedies, his cover and sources have been completely blown. It is a glorious day.
|
|
996 posts
|
Post by nash16 on Mar 20, 2017 23:49:41 GMT
Thought this was excellent - didn't see Kings of War so can't compare with that. Spent a bit of time up on stage at which point I had a bit of a lightbulb moment that this is actually a very traditional thing to do - it was basically like being in the Pit at the Globe. Becomes quickly apparent that while being on the stage is a fun immersive experience you have a really terrible view of the action. Good opportunity to try out a few different seats! Agree with the above comments that "Friends, Romans, Countrymen ..." was the highlight. Wonder if video footage of Donald Trump in Shakespeare productions will become as ubiquitous as footage of George W Bush was a few years ago? One effect of seeing this is that I appreciate Robert Icke's Oresteia and Hamlet a lot less! Bob Dylan / Power Suits / Soft Furnishings / Countdown clocks for short pauses / Classical text spoken as naturalistic dialogue. Spotted in the audience - Angus Wright and several of the cast of Hedda Gabler including Ruth Wilson. Icke is a fraud. This production proves it. Apparently he saw it in 2009. And hasn't stopped pillaging it since.
|
|
996 posts
|
Post by nash16 on Mar 20, 2017 23:35:09 GMT
Don't you think the competition with American In Paris will sink both shows, both being dance orientated and in big theatres? This is gonna trounce AAIP. Big time!
|
|
996 posts
|
Post by nash16 on Mar 20, 2017 23:17:01 GMT
It makes me sad to see that alot of the Instagram pictures of people with their tickets I can see they are comps. I wanna see this one have at leasr a decent run! Daniel, don't worry at all. The people that will keep this show running are all across the country and won't even have a cue that 42nd Street is on in the West End yet. Previews always comp for the most part in the West End. Even after Press Night too. Then, word of mouth and the reviews take hold, and the shows run and run. This one will run at least for 2 years. But grab a comp whilst you can, if you can.
|
|
996 posts
|
Post by nash16 on Mar 20, 2017 23:14:35 GMT
Was there tonight too. Wow wow wow wow wow!! If you haven't booked, book now. It's a proper vintage show, with lots of randomly daft bits in, but the set pieces are outstandingly staged. The energy in these big numbers is almost overwhelming and we were up in the Grand Circle. Sheen Easton was very good, and will bed in and can go bigger with her diva, but Clare Halse is incredible. A star is definitely born. The most uplifting night I've spent in a theatre. End of.
|
|
996 posts
|
Post by nash16 on Mar 18, 2017 16:31:10 GMT
I thought Rafe was great....scary at the end! Really enjoyed his performance! We just really found him ham-tastic, and shouting everything, and kicking the heels of his shoes around. All far too obvious. No subtlety and little evident skill. We longed for Iain Glen's lion-esque Brack, silenty, and mentally taking control of his prey. Not dunking her in t juice and almost doing villain laughs. For all of van Hove's psychological work, he can get very presentational/obvious at times.
|
|
996 posts
|
Post by nash16 on Mar 18, 2017 16:27:49 GMT
I was left cold by this. Okay, I've only been acquainted with the play since last year when I saw the Salisbury production with Kirsty Bushell. I also saw The Master Builder and An Enemy of the People for the first time in 2016 as well, and to me when it comes to Ibsen context is a key element to enjoying his plays Hedda Gabler is an unlikable person, but the whole time I was watching the Salisbury production I was intrigued by why she was the way she was. I was intrigued by what was going on in the Master Builder and Enemy of the People. And the play/production kept dropping hints through the context that surrounded the situation. In Hedda Gabler's case the attitudes and treatment towards women back then This production simplifies things for the sake of modernising it. It says from the start Hedda Gabler is isolated and lonely. Plain and simple. Stuck in this cavernous prison of an apartment. The subtext of the attitudes of women is reduced to fit with this modern setting, and I kept thinking what exactly is keeping Hedda Gabler in this apartment in this day and age. Things are better compared to the 19th century but its still not great for women. If you want to put Hedda Gabler in modern times tell me why you think it can be set in modern times. Because the production shows us Gabler's pain and isolation from the get go it has no where to go. And whilst I liked some of the performances (though Rafe Spall's predatory Judge was certainly a bit simplistic) this production didn't engage me "Simplistic" is a much better way of describing his performance/the direction of his performance, I agree.
|
|
996 posts
|
Post by nash16 on Mar 17, 2017 10:10:46 GMT
Saw this last night and not sure what to make of it. I loved Ruth Wilson, thought she did a great job with Hedda but that's pretty much all I liked. Wasn't keen on Marber's version but that's par for the course with him - I wish he wouldn't pop up so much at the National. Thought the direction was heavy handed and obscured the meaning rather than illuminated it as he did with View From The Bridge. And then usually excellent actors like Soller, Spall and Matthews were left floundering. Soller and Matthews in the Glass Menagerie a few years ago were glorious together, here he was anonymous and her's was less a performance than one long whine. The less said about Spall's panto turn the better, laughable rather than chilling. The last time I saw it Sheridan Smith looked uncomfortable in a fantastic production, here the exact opposite. Agree with your Rafe Spall comment. He was appalling in it. And has been nominated for an Olivier now? So they've validated his OTT performance and bizarre physicality and shouting as something for performers to look up to? He and Chuk Iwuji really deflated the realism of the piece in the 2nd half.
|
|
996 posts
|
Post by nash16 on Mar 16, 2017 1:46:40 GMT
Mmmm On The Town - Danny Mac Danny Mac - Strictly Come Dancing Strictly Ballroom - Drew McOnie Drew McOnie - On The Town If Strictly Ballroom The Musical transfers into the West End next Spring what do we think the chances are of Danny Mac starring as Scott Hastings? Please don't swear on the board. Danny Mac Attack: horrific news!
|
|
996 posts
|
Post by nash16 on Mar 9, 2017 1:44:10 GMT
Contemporary play version of the classic to be directed by Nick Hytner in the first season.
But who to star?
|
|
996 posts
|
Post by nash16 on Mar 6, 2017 0:48:21 GMT
SRB must be praising the heavens that Hytner is finally opening his theatre. Without him, who employs SRB any more, save a random RSC outing? Bring on the SRB fest.
What "major" roles do we think Hytner will be giving to SRB in his first few seasons?
|
|
996 posts
|
Post by nash16 on Mar 5, 2017 10:45:52 GMT
Is this coming to London anytime soon!! Yes! Not til the late autumn though.
|
|
996 posts
|
Post by nash16 on Mar 5, 2017 10:44:58 GMT
Couldn't imagine anything worse than seeing this. He is just too hammy these days it will be unbearable. Especially as, in this gender equality production, he'll be playing Goneril.
|
|
996 posts
|
Post by nash16 on Mar 5, 2017 0:57:49 GMT
Are there any rumours as to who is going to play Hamilton himself? I can't wait to see this. Just one more year... It's going to be Riz Ahmed. He's started seeing a lot of theatre in prep. He was at the Young Vic tonight with Lena Dunham.
|
|
996 posts
|
Post by nash16 on Mar 5, 2017 0:17:06 GMT
Poor Luke... Is he in or is he out at the moment? From what the reviews says it's a complete blink and you will miss it moment. I am dissapointed that, albeit however short the moment is, they decided to go for a villain being the first 'openly gay' character.......remember kids u can't be gay AND be good Seeing as Evans is gay himself, they should have had him play Gaston as gay. And the whole "wanting to marry Belle" thing being a cover.
|
|
996 posts
|
Post by nash16 on Mar 3, 2017 23:42:04 GMT
I wish they'd bring Caroline Or Change to the West End. It's Daniel Evans running Chichester now, don't forget. He wanted everything at Sheffield to transfer, but little if anything did. Now he's at Chichester, the Theatre King/Queen of Transfers, he will have many, many chances. If you look at the season, it's nearly ALL designed to transfer to London.
|
|
996 posts
|
Post by nash16 on Mar 3, 2017 23:39:32 GMT
It's probably issues with the director...
|
|
996 posts
|
Post by nash16 on Mar 3, 2017 23:04:07 GMT
I doubt strongly it would survive in town. It might do ok on tour. But BurlyBeaR posting about a school's production of BE has hit on something perhaps: this would be a great show to either tour schools, or be performed by schools. I think this is where its real (and important) future lies. Just not the West End alas. Isn't it a bit subversive for schools though? Much of the story is about how school tries to push kids into traditional careers, take a job at any cost and be grateful for it even if it's dead end working in an abattoir or something. The kids openly ridicule that, along with the teacher whose pushing it. The "be yourself" message is aspirational but doesn't necessarily fit in with the school agenda? Thus making it perfect for schools to receive it as a production, or to put it on themselves. I doubt most schools are as reductive as the show portrays its own to be. Although we under a Tory gov so goodness knows what they're being told they can and cant't be in there, the poor blighters. I would imagine MOST schools would embrace a show with the message of be yourself though. I could be wrong.
|
|
996 posts
|
Post by nash16 on Mar 3, 2017 0:46:55 GMT
That is very well put, nash16. There was little that was surprising or new in the message, yet the audience were loving it because it was done well and it seemed that it was a story they wanted to hear. Just in the small section around us were a very elderly man who has loved musicals for years, two ladies in their sixties, a family with children under twelve and a group of young men. I heard them all at different times reacting really positively. I was saying on the way home that it's a great show for schools/youth groups to see and perform but I wondered if some of the jokes and language would be too much. Tricky one. I can certainly see this touring successfully but would it survive in town? I doubt strongly it would survive in town. It might do ok on tour. But BurlyBeaR posting about a school's production of BE has hit on something perhaps: this would be a great show to either tour schools, or be performed by schools. I think this is where its real (and important) future lies. Just not the West End alas.
|
|
996 posts
|
Post by nash16 on Mar 2, 2017 2:37:12 GMT
I for once didn't read any reviews before I saw a show as some of my fave shows have had terrible reviews in the past .....I loved seeing this show on Saturday and crave for more ... after reading over 12 reviews online I would be very surprised if we didn't see this again surely ? A tour maybe ? Don't think I've ever read so many positive or glowing reviews for a new musical We loved it too when we saw the final Friday show. But we all thought the same thing: it's quality production values and staging make it seem destined for London, but the story takes too much from other hits shows: Priscilla is there, Billy Elliot is there, Wicked is there, La Cage is there, Kinky Boots is there, and so many others. It's like a mash up of a cliched musical, even though, in performance, and with the great atmosphere in that theatre it felt anything but a cliche of musical theatre. For these reasons it should be a bone fide hit transfer. But these are the reasons also why it won't transfer or be a hit. A shame, as we really loved it.
|
|
996 posts
|
Post by nash16 on Mar 2, 2017 2:34:16 GMT
I'll bet Luke Evans just can't wait for the promo tour now . . . Poor Luke... Is he in or is he out at the moment?
|
|
996 posts
|
Post by nash16 on Feb 28, 2017 14:46:36 GMT
Has a tour been announced for this? It's just been announced to be playing Hull when the New theatre reopens in November. Think you might be onto something... Just announced here also... www.thelowry.com/event/hedda-gabler1Unlikely that Ruth Wilson, Rafe Spall and Kyle Soller will be packing their suitcases I imagine? Nope, a brand new cast in all roles.
|
|
996 posts
|
Post by nash16 on Feb 28, 2017 0:29:59 GMT
Have to side with Ade and bellboard27 in not liking this tonight. It started promisingly enough, with a different type of set from Es Devlin (looks a bit like the inside of an inverted Death Star with 3hours hindsight), and nice video projections on top of it.
But the play itself is weak. A balancing of niceties, and never any real drama or propulsion in making us the audience meet these characters, who seem to be suffering slightly at one minute, then laughing along with life the next. But neither at any extreme at any point. My friend and I both came out saying we didn't really care, which isn't a good sign, and not the expected outcome of an evening about a soldier returning from the wars with such horrific injuries.
Fleetwood acquits herself well, with obvious attention to detail, especially in the movement. But Ralph Little gives her little (oops) to work with, but then it's a fairly lukewarm and thankless part. Kris Marshall is fine, but plods along. And I have to agree with whomever said Olivia Darnley was bad. She shouted everything. Maybe she had been given a note about not being heard, but they're all mic'd up, as is the way these days at the NT, so why the bellowing? She is a good actress normally, but here, awful. Like something out of a 50's set American musical
Left wishing the writer had been braver and gone deeper and more truthful with her presentation of these people in this situation. As it is, it's almost a nice evening out, that bores its audience gradually over 90minutes. And you don't even need to see it for the set, as the production photos will do that for you. A shame.
|
|
996 posts
|
Post by nash16 on Feb 25, 2017 10:02:49 GMT
Was anyone at the first preview tonight? I do regret not booking some cheap seats earlier, so I may have to rely on the TodayTix lottery! First preview is tonight.
|
|
996 posts
|
Post by nash16 on Feb 17, 2017 1:34:10 GMT
Oh gawd...
|
|
996 posts
|
Post by nash16 on Feb 10, 2017 1:45:05 GMT
Let's have...
Hamilton: Riz Ahmed
King George: Jonathan Groff, for a couple of months.
|
|
996 posts
|
Post by nash16 on Feb 10, 2017 1:26:49 GMT
Wonderful news. I wonder who will play the Anna Francolini role?
|
|
996 posts
|
Post by nash16 on Feb 2, 2017 2:09:07 GMT
Oh no, they must need the publicity badly.
|
|
996 posts
|
Post by nash16 on Feb 2, 2017 2:07:31 GMT
Thank God we don't have to have him on our stages acting soon.
|
|