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Post by nash16 on Sept 15, 2016 21:56:56 GMT
Different things appeal to different people for all kinds of different reasons. Sometimes we can't even quantify what it is about a piece that causes it to resonate so strongly for us - lord knows I couldn't tell you why Groundhog Day has burrowed its way inside my heart, but it has, and there were tears, and I'm not ashamed. (Also the tears were not conspicuous or performative, they were solely mine, for the record. ) The show that I love and brings me to tears is not necessarily going to be the same as the show that you love and brings you to tears, and just because we don't feel like that about each other's shows doesn't mean we're wrong to feel that way about our respective shows. Oh absolutely, agreed. It's just the way people seem to have wound themselves up into a frenzy over this final chance to get tickets, I really am struggling to see it's worth all that. I mean, had I for example gone to see Harry Potter and the Cursed Child and come out hating it, I could at least see what other people might love about it (lots of magic, oodles of nostalgia, some standout performances, the theatrical appeal). Groundhog Day just felt rather pedestrian. It develops only two characters in a large cast, that I can recall. The poor ensemble are very much just a bunch of folks wandering about with a variety of costumes on all night. The singing wasn't always that clear, so I missed some of the jokes (and I wasn't the only one in the party I went with to feel that). I like a lot of Minchin's comedy work but you can get away with rather more rushed, breathless, clever lines, as he is wont to write, when you're one guy doing comedy - not so much when there are a bunch of characters together on stage and you're supposed to be able to hear one above the other to develop plot and make people laugh. I dunno - it just felt to me like there was quite a lot working against it, so the reaction here (and from critics) is something of a surprise. R.e. the critics. A friend of one of the Producers told me that B'way had essentially said unless it got 5* reviews across the board, they wouldn't bring it over. One can't help but feel this info was passed on to the reviewers. I'm not saying bribery took place, but placing that thought into their minds… And hey presto, a lot of 5* reviews. Not across the board, but a lot. And it gets it's Broadway run. I just can't see it lasting on Broadway. It's not moving enough, and the story not engaging enough.
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Post by nash16 on Sept 15, 2016 21:53:02 GMT
Entirely with caiaphas on this one. It was a perfectly entertaining night out, but nothing more. I'm struggling to understand the love for this, or why people would be crying at it. It just wasn't anywhere near that deep, for me. I certainly wouldn't be rushing back, whatever the price! Yes, Jeanhunt. Totally agree. I don't quite get how this board thread has been so hyped and enjoyed it so much. I, like you, felt unmoved throughout, and saw only a lot of energy and one, maybe two good songs that didn't even fit within the story much.
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Post by nash16 on Sept 12, 2016 15:03:09 GMT
Hey Nash, I reckon Josette Simon for Cleopatra. Naaaah, she ain't known is she??
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Post by nash16 on Sept 12, 2016 14:38:08 GMT
JULIUS CAESAR TITUS ANDRONICUS ANTONY AND CLEOPATRA Angus Jackson to direct one. Any thoughts for the roles of Caesar, Cleopatra, Antony, Brutus, Cassius? Glad to see my earlier post confirmed! Sounds like a great rest of season too.
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Post by nash16 on Sept 11, 2016 10:55:50 GMT
I had a successful experience at the returns queue yesterday, though just barely! I arrived at about 10:00am, and was about 20th in the queue. The box office opened and they came out and said that, at the moment, they had no returns. It only took about 20 minutes, though, for the first people to get their tickets (those first people told me they got in the queue at 4:30am). Then, for the next few hours, the queue moved surprisingly fast, comparatively speaking. By around noon, I think I was only 7th or 8th in line. At around 1, I was in the first 3 or 4. Finally at 1:50 (10 minutes to curtain), I was offered my tickets and decided to take them. As I was contemplating earlier in the thread, I DID in fact pass on a £190 pair because it was out of my budget, and the person behind me took it. I was willing to take the risk since I knew I would be here in London for a while and would have other chances to get in for cheaper. Luckily, I was offered a noticeably cheaper pair of tickets in the end, and it was a great seat in the 2nd circle. I didn't see anyone get offered a ticket for just one part. All the tickets I saw offered to the queue were for both parts, which was good. A man came out with a clipboard every time he had a return ticket to offer. He would come out and say how many he had, where in the theatre they were, and how much they were, and the person would then be directed into the box office to pay for the ticket(s) at the window, at which point the man with the clipboard would hand us the tickets from an envelope he already had on his clipboard. So to answer my own question from earlier: NO, there was no direct exchanges between us and the people who returned the tickets. It was all through the box office staff. However, 30 minutes before the show-time, the man came out and told us that from that point on, we would only be allowed to pay with CASH (credit cards had previously been accepted throughout the afternoon). He said, however, that if we were in the front of the queue and we were offered a return ticket, we would then be allowed to go to the bank across the street and get cash from the ATM without forfeiting our ticket, which I think is a very nice gesture on their part. All in all, a bit of a nail-biting experience, but totally worth it. I really loved the show! Great write up of your experience. And congrats for getting in!
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Post by nash16 on Sept 11, 2016 2:57:42 GMT
He was exceptional in THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE at the Donmar. Indeed. He was very funny and sang very nicely so should be fine. "Fine"? He's gonna ROCK!!!!!!!!
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Post by nash16 on Sept 8, 2016 21:06:20 GMT
We have no reference on this guys singing then? Has he done any? Doing some research on him and he's had some TV success in america and seems a good comedy actor. He was exceptional in THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE at the Donmar.
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Post by nash16 on Sept 8, 2016 20:24:13 GMT
Jessica Brown Findlay and Luke Thompson. It'll be pretty, anyway. He's cast his girlfriend AGAIN?
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Post by nash16 on Sept 8, 2016 20:22:27 GMT
Hahaha!!! Did they blow the budget on her dressing gown? What a mess!! Is it trying to be the Young Vic one (and failing?)? What's with the skipping ropes for rooms? Cripes. Seeing this in 2 weeks.
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Post by nash16 on Sept 7, 2016 23:02:27 GMT
Don't forget it's all here too:
Although it would be lovely to own a copy of it on CD.
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Post by nash16 on Sept 5, 2016 18:09:56 GMT
The Medical Song in GROUNDHOG DAY is great, but doesn't fit within the show as it feels like a stand-alone Minchin number.
Add to that the Act 2 opener in GD too.
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Post by nash16 on Sept 5, 2016 17:55:13 GMT
they're aiming to open it on Broadway in the Spring to try and bag a few Tony's Seriously? I'll be fascinated to see how it goes down in the USA. To us, it's history - to some of them, it's still a training manual… Haha, very true! Maybe it will make them think a bit too… Nah!
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Post by nash16 on Sept 5, 2016 12:18:06 GMT
Don't want to pay £85 to see this, but severely tempted to pay £65 for one of the seats in the second row next to the more expensive seats - it's Ed Harris for Gods sake, he doesn't do any old tat (does he? has he done anything on stage on the States recently? Hey Marwood, I would hang tight and download the TODAY TIX app. They're highly likely to use it on this, as same venue and director as THE SPOILS team, and you'll most likely get great seats on it for £26 or thereabouts. When I used it for THE SPOILS tickets we got Row H, Premium Seats for that price.
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Post by nash16 on Sept 4, 2016 1:14:33 GMT
This is a warmed-up version of an existing production he has staged previously - anyone seen it ? NT continues to line Patrick Marber's pockets with this too for some reason, after his last two duds here it's hard to see why. This particular production, that will be replicated fully with the English cast, premiered at the New York Theatre Workshop in 2004. Ivo then took it to his theatre in Amsterdam in 2006. If you want to see what Ruth Wilson and co are going to have to duplicate, check out this trailer Note the flowers everywhere, like the bit-dodgy/uninspiring new NT trailer.
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Post by nash16 on Sept 4, 2016 1:09:18 GMT
Does anyone know if there are any plans to bring this back? For a play that was so well-received and won the Olivier, it seems odd that it has gone quiet after a just a three-month West End run. Knew I should have gone to the NT Live broadcast when I had the chance! No plans to return this in London, but they're aiming to open it on Broadway in the Spring to try and bag a few Tony's. It would deserve them all.
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Post by nash16 on Aug 26, 2016 22:30:44 GMT
The topic has created 5 pages of responses but there is no definitive statement or press release that the show is even coming! Baz and Mark Shenton haven't even discussed it... This may shock you but some of us on here actually work in the industry, and so often know things that journos like Baz and Shenton either don't know or won't discuss. Saying people are lying has pushed away some great industry insiders in the past, and makes the ones that remain unlikely to post. I could tell you what Sondheim revival is touring next year (with an eye on going into town after), what musical is going to have a quick run at Traf Studios 1 in the Autumn to see if it is worth a full time place in town, which well-received fringe show now has a West End house booked for next year, I could even give a full account of what happened on the night of technical difficulties at Funny Girl. But it is responses like yours that make me usually not bother anymore. What can be gained by going onto the internet and lying on a tiny forum? Why would anyone bother? Thank you, firefingers. Beautifully put and appreciated.
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Post by nash16 on Aug 25, 2016 22:56:59 GMT
Alex Waldman & Francesca Zoutewelle to play Chris & Ann in Michael Rudman's production opening in October.
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Post by nash16 on Aug 25, 2016 0:14:33 GMT
Was I the only one whom checked the meniers website 4 minutes after this post? Gutted I was keeping the Mark Owen theme. Apologies, MrsL.
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Post by nash16 on Aug 24, 2016 22:05:01 GMT
Just have a little Patience Mark Owen? A four minute warning?
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Post by nash16 on Aug 24, 2016 22:04:30 GMT
Menier I'm not bitter but I write in the 'meneir Christmas musical' board that I wanted hewing there a bit before you posted yours. Did you copy me? Oh darling, I don't want you to be bitter. No, you posted "hoping" for Hedwig in the Menier thread yesterday. I started this thread way back on the 11th of August. So have no fear.
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Post by nash16 on Aug 23, 2016 22:52:00 GMT
Menier
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Post by nash16 on Aug 23, 2016 22:51:45 GMT
Announcement due imminently. Michael Meyer directing his 2013 Broadway version. British "star" to take the title role. I'm guessing this was rubbish then No, it was a hit on Broadway, I think?
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Post by nash16 on Aug 22, 2016 23:44:00 GMT
This is very bad. Stay away. Bad sitcom. Poor Wyndham's. Ooh, sounds more tempting now. As a comparison, which bad sitcom is it like? Ryan and Baemax, you must see it, but get comps somehow. Sitcom wise, I would say it's like The Good Life, but only because it has two couples in it, and only The Good Life if it had been bad, instead of good. And if you'd found no reason to engage with the characters and their supposed plights. Oh god this play was boring.
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Post by nash16 on Aug 22, 2016 14:45:14 GMT
This is very bad. Stay away. Bad sitcom. Poor Wyndham's. You said that a few pages ago and we all took it on board. I disagree, but I read it and understood it the first time you posted. Well, as you yourself once said, "I LOVE horrendously bad shows as much as good ones." I'm just trying to save people a few quid. It really is bad. (Whoops! I've said it again! FLAY ME!)
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Post by nash16 on Aug 21, 2016 0:10:21 GMT
This is very bad. Stay away. Bad sitcom. Poor Wyndham's.
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Post by nash16 on Aug 16, 2016 22:57:39 GMT
Oh dear...Are you sure Billington wrote that, and not just Phil Daoust using another Guardian journalist's name? (Minchin fans will know) But joking apart, it still is a great review as are the rest of them and they're all making me so excited to see it now! Hey, if it IS Broadway bound, they ALL want their names on the billboards and posters somehow! (Mark cough Shenton)
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Post by nash16 on Aug 16, 2016 22:29:31 GMT
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Post by nash16 on Aug 16, 2016 20:43:57 GMT
Huh? Les Mis, Wicked, Miss Saigon, Cats, Jesus Christ Superstar, Gypsy, West Side Story, Sweeney Todd, The Wizard of Oz, The Sound of Music, Oliver, Little Shop of Horrors, A Little Night Music, Rent, Lion King, Billy Elliot etcetcetcetcetcetcetc WHEN was this amazing golden age of musical originality? ? It's been happening on Broadway for the last decade. Yes, there are still far more movie adaptations and jukebox musicals but New York is truly coming out with some original and brilliant musicals. It is sad that I'm excited about Groundhog Day just because it's a musical with an original score that is debuting in London and is mostly being received well, even if it is based on a film. That stuff happens in New York once every few months. Is Tim Minchin the only modern British composer that is able to write critically acclaimed musicals that transfer to Broadway like so many of theirs transfer to the West End? A shame if that is the case. Yes, NYC seems to lead the way with originality. A lot of their regional theatres too produce very good new shows. It's not sad that you're excited about seeing GD. I was excited too.
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Post by nash16 on Aug 16, 2016 20:40:48 GMT
We have musical versions of BIG and SLEEPLESS IN SEATTLE heading our way in the next year. Originality seems to be a gasping afterthought in today's musical world. We need to take more risks, and make sure our shows have drama and keep our audiences on the edges of their seats, not sat back with shoes and sock off (man in front of us tonight) and cosy familiarity. Huh? Les Mis, Wicked, Miss Saigon, Cats, Jesus Christ Superstar, Gypsy, West Side Story, Sweeney Todd, The Wizard of Oz, The Sound of Music, Oliver, Little Shop of Horrors, A Little Night Music, Rent, Lion King, Billy Elliot etcetcetcetcetcetcetc WHEN was this amazing golden age of musical originality? ? Erm, if you'd read the sentence I was saying we NEED, in your words a "golden age" of, originality. I wasn't saying at any point that we'd had one. No "huh?" req!
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Post by nash16 on Aug 16, 2016 0:54:46 GMT
It's a shame you didn't enjoy it as much as anticipated, but I do agree with you on the point of Carlyss Peer. I thought she was good, in great voice etc... but I didn't think it was a performance that "star-making" or incredible either. I don't think it is her fault, I think that is the way the role is just written. But whilst I thought she was good, I didn't think it was anything special. I certainly wouldn't say it is one of the best female performances on the West End at the minute for example. Good, but not incredible as made out in some reviews. But difference of opinion, some may find it an amazing performance. It's all about Andy Karl for me in this though. Agreed. Karl is just fantastic. Just such a shame he's not in a better structured show.
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