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Post by AddisonMizner on May 19, 2024 11:09:34 GMT
Sondheim does have a very distinctive voice, but all of his shows have their own unique sound world. It is hard to believe that the composer of the semi-operatic SWEENEY TODD is the same one who wrote COMPANY as the two pieces are completely different. That is just one example. Who would have thought that Sondheim could write a song like Unworthy of Your Love from ASSASSINS?
Listening to HERE WE ARE for a second time now, and completely loving it. It certainly a show that gives more on repeated listens (as could be argued with all Sondheim's shows).
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Post by AddisonMizner on May 18, 2024 20:14:05 GMT
I listened to HERE WE ARE this morning.
It is true that it is not Sondheim’s best. It does sound very similar to some of his other work (such as MERRILY, PASSION, SUNDAY and SWEENEY TODD). However, it is an eclectic score, encompassing many different styles in keeping with the films the show is based on and it is very fun. There are also some real standout numbers in this, (such as THE BISHOP’S SONG above). Sondheim at less than his best is still ten times better than most of the original musicals that make it to the stage these days. It also has its own original voice.
I will be listening again tomorrow to consolidate my thoughts. I really hope this is staged ASAP in the UK!
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Post by AddisonMizner on May 18, 2024 20:12:54 GMT
I listened to HERE WE ARE this morning.
It is true that it is not Sondheim’s best. It does sound very similar to some of his other work (such as MERRILY, PASSION, SUNDAY and SWEENEY TODD). However, it is an eclectic score, encompassing many different styles in keeping with the films the show is based on and it is very fun. There are also some real standout numbers in this, such as the ones mentioned above. Sondheim at less than his best is still ten times better than most of the original musicals that make it to the stage these days. It also has its own original voice.
I will be listening again tomorrow to consolidate my thoughts. I really hope this is staged ASAP in the UK!
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Post by AddisonMizner on May 16, 2024 20:24:02 GMT
The recent Broadway productions of both SWEENEY TODD and PARADE HERE WE ARE (can’t wait for tomorrow’s album release, but I’m dying to see the actual production). SUFFS (do we think this is a possibility? I would love to see it, as I do like Shauna Taub’s music)
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Post by AddisonMizner on May 15, 2024 19:29:26 GMT
I have loved the videos that have been released over the last couple of days. I welled up during the ‘Passion Project’ video and had goosebumps during today’s trailer. The film looks amazing, and I can’t wait to see it. WICKED holds a special place in my heart.
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Post by AddisonMizner on May 15, 2024 19:24:03 GMT
I’m excited for THE TURN OF THE SCREW. A Britten opera that I have always wanted to see. I will definitely be booking it.
The MARY, QUEEN OF SCOTS also sounds interesting.
Other than that, I find it another pretty dull season as per the ROH.
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Post by AddisonMizner on May 11, 2024 18:52:16 GMT
I went to see PUNCH this afternoon. It is another absolute stunner of a play from James Graham (who was there, which was very exciting). It deals with themes such as gang violence, toxic masculinity, faith and the power of forgiveness.
The first act begins with the fateful punch, and then goes back in time to show how our main character, Jacob got to that point. It moves through time throughout, with scenes involving James’ parents, David and Joan (the victim of Jacob’s one punch). It is very energetic and fast-paced.
The second act is where the play really takes off, and is the emotional heart of the piece. This focusses on the restorative justice process once Jacob gets out of prison, and how he turns his life around. This is the first time that Jacob can bring himself to say James’ name. It is incredibly moving, and I had tears in my eyes throughout. However, it also does that typical Graham masterstroke of making you laugh alongside the tears. The scene where the three main characters meet for the first time is absolute fire!
The dialogue in this is incredibly well crafted, feeling hyper-realistic. Sentences trail off unfinished, only for another to be introduced and characters interrupt one another as you would expect. Every single interaction feels authentic.
The small cast do a fantastic job at portraying multiple characters.
David Shields as Jacob is a star. He is immensely watchable, and you cannot take your eyes off of him. Having listened to the audiobook of Jacob’s memoir, he also does an uncanny job with his voice. He is onstage throughout, and the energy is breathtaking. His reactions to others when not speaking are also beautiful to watch.
Julie Hesmondhalgh and Tony Hirst as James’ parents, Joan and Tony are a moving presence throughout, and portray their anguish and inner conflict beautifully.
Alec Boaden, Shalisha James-Davis and Emma Pallant excel at playing their multiple roles. It feels like each one is played by a different actor.
I also just wanted to mention the lighting, which is brilliant. It works really well with the static set to move us from scene to scene, as well as create mood and atmosphere.
This deserves a future life, beyond its month in Nottingham. It is a really important piece of theatre, that should be seen by a much wider audience. I encourage those who can get to Nottingham to go and see it.
I can’t wait for BOYS FROM THE BLACKSTUFF in July.
5 stars.
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Post by AddisonMizner on May 7, 2024 20:23:23 GMT
ENO are due to announce their new season next Wednesday (15th May).
Does anyone have any ideas as to what it could include?
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Post by AddisonMizner on May 5, 2024 19:41:45 GMT
I went to the matinee of the new CARMEN today. The last performance with the first cast.
The singing from the two leads was just incredible, particularly Piotr Beczala as Don Jose. The voice sounded so fresh, and was really quite large in the house, cutting through the orchestra. The ring on the voice was thrilling. I was really moved by his ‘Flower Song’ in Act 2 and the final scene was absolute fire. I gave him a standing ovation at the curtain call, and was not the only one. I have never seen a standing ovation at the ROH, in the 10 years I have been going there. He is one of my favourite tenors, and I do not understand why he is not singing more at the ROH. I hope to hear him on many more occasions.
Aigul Akhmetshina was also a large vocal presence on stage. She was the standout when I heard her as Charlotte in WERTHER last season, and is just as good here. Her Carmen was very sexy.
The rest of the cast were good, but those two were the vocal standouts.
It is also a very nice production.
5 stars.
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Post by AddisonMizner on Apr 30, 2024 17:34:35 GMT
It is really not an exciting season for me either. None of the singers I wanted to see are in productions here (no Nadine Sierra, Javier Camarena, Piotr Beczala, Benjamin Bernheim etc).
I am interested in hearing Freddie de Tommaso, but can’t justify seeing him in CARMEN, as I am seeing the same production on Sunday.
The only others I might consider are SEMELE and the Bernstein.
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Post by AddisonMizner on Apr 26, 2024 20:10:00 GMT
I didn’t like PRELUDES when I saw it at Southwark. I never got to see GHOST QUARTET, as the performance I was meant to be going to was cancelled due to a technical fault.
I am interested in GREAT COMET though. Sounded really interesting when it was in New York, though I can’t imagine they will replicate that staging at the Donmar. Can they do immersive there due to the size of the space?
Hopefully this is true.
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Post by AddisonMizner on Apr 25, 2024 20:03:05 GMT
Thought it would be cool to start a thread for general rumours, as idk where else they’d go. Just saw the annoying shouty TikTok man say it’s looking like the west end will get a revival of Sunday in the park with George, starring Andrew Garfield! Is this a credible rumour, because I really don’t want to get too excited about it otherwise? I would love to see this. We are crying out for a new production of SUNDAY in London. Andrew Garfield is also good casting.
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Post by AddisonMizner on Apr 21, 2024 15:21:56 GMT
I really wanted to go to LUCIA to hear Nadine Sierra in the lead role, but couldn’t make it work. Hopefully, she will be back at the ROH next season. Neither of the two LSO Rondine dates worked either.
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Post by AddisonMizner on Apr 19, 2024 20:01:27 GMT
Exciting. How do you know this? The programme is announced on Thursday, 25th April.
What opera is on this year?
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Post by AddisonMizner on Apr 15, 2024 20:22:42 GMT
Shame if it is Broadway, as I would love to see this in the West End, especially with Zegler.
I didn’t even get tickets for the Tom Holland one.
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Post by AddisonMizner on Apr 14, 2024 20:47:09 GMT
Randomly started thinking about this today. Does anyone know if this is dead in the water, or are they still hoping for it to happen?
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Post by AddisonMizner on Apr 12, 2024 22:06:51 GMT
I went to see the tour in Nottingham this evening. A show like this is not usually my thing, but friends wanted to go. I have not seen any other previous stage version either.
I knew the new Lloyd Webber material, having listened to the cast recording when it first came out, and didn't like it at all then. Seeing it in context really didn't change my mind! The opening number ('Nobody Understands Me') is awful, and the others are serviceable at best. The only song I kind of liked was 'Already Home', but the lyrics were cliched. These new additions didn't really match the original score either. This production modernises all of the arrangements of the songs (something that I am not against in theory), but in places they seemed to be so different that they might as well have been doing THE WIZ. Why on earth did they have the Tin Man start rapping in the middle of his song? All the body popping also got boring very quickly. I enjoyed 'Somewhere Over The Rainbow'. By far the best moment in the show.
I also just wanted to mention the sound, as I have never been to a production that is so LOUD! The sound was really dialled up to 11, and it was somewhat unbearable. It didn't really help with the lyrics, as many were inaudible. I felt that I had been to a rock concert (admittedly, I haven't been to many of those).
I liked aspects of the production. The aesthetic of the costuming and physical scenery was fun, but I didn't like the over-reliance on the use of the screen, as it felt like I was in a video game. I often found myself watching that rather than what was happening on stage (this was particularly the case in the Emerald City sequence).
The actors were good in their roles, even if it was all a bit panto. The Vivienne could have found a bit more light and shade in their role. It was all just a lot of shouting, and I began to get worried for their vocal cords. The melting was particularly panto and embarrassing. Overall energy was very good though.
Like I said, not really my kind of thing, so take what I say with a pinch of salt. All the time I was sat there, I just wished that I was watching WICKED, which is an infinitely better musical, with an infinitely better score.
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Post by AddisonMizner on Apr 11, 2024 23:04:21 GMT
HOFFMANN is definitely happening in the 2024/25 season. I’ve just watched an Insight on YouTube about the new CARMEN production (that I have tickets for), and it was confirmed by the conductor. The production will be by Damiano Michieletto (director of the Olivier Award winning CAV & PAG, as well as this new Carmen). Now just need to have Benjamin Bernheim in the title role (as I’ve already said above). He’s sung/singing it everywhere else, so why not at the ROH!
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Post by AddisonMizner on Apr 5, 2024 19:16:12 GMT
Me too! Cannot wait! Now, would it be too much to ask for a London transfer?
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Post by AddisonMizner on Mar 30, 2024 15:18:30 GMT
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Post by AddisonMizner on Mar 17, 2024 13:06:06 GMT
I think I read somewhere that there is going to be a new production of TOSCA this coming season, with Freddie De Tommaso. I think maybe Lise Davidsen may be Tosca.
I expect there will be some Handel, as there is something every year. I would love to see TAMERLANO, maybe with Michael Spyres.
If they do HOFFMANN, can we please have Benjamin Bernheim as the title character?
As long as the season is cast with good singers, I am not overly bothered what the operas themselves are.
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Post by AddisonMizner on Mar 12, 2024 19:17:25 GMT
My two cents:
Stephen Sondheim’s Old Friends, music and lyrics by Stephen Sondheim at the Gielgud Theatre
Best Family Show
N/A. Haven’t seen any of the nominees.
Gillian Lynne Award for Best Theatre Choreographer
Fabian Aloise for Sunset Boulevard at the Savoy Theatre
Mithridate Award for Best Costume Design
Bunny Christie and Deborah Andrews for Guys and Dolls at the Bridge Theatre
Cunard Best Revival
N/A. Haven’t seen any of the nominees.
Best Musical Revival
Sunset Boulevard, music by Andrew Lloyd Webber, lyrics and book by Don Black & Christopher Hampton at the Savoy Theatre
d&b audiotechnik Award for Best Sound Design
Adam Fisher for Sunset Boulevard at the Savoy Theatre
Outstanding Musical Contribution
Alan Williams for Musical Supervision and Musical Direction for Sunset Boulevard at the Savoy Theatre
Best Actor in a Supporting Role
Luke Thompson for A Little Life at the Harold Pinter Theatre and Savoy Theatre
Best Actress in a Supporting Role
Gina McKee for Dear England at the National Theatre – Olivier
Blue-i Theatre Technology Award for Best Set Design
Soutra Gilmour for Set Design and Nathan Amzi and Joe Ransom for Video Design for Sunset Boulevard at the Savoy Theatre
White Light Award for Best Lighting Design
Jack Knowles for Sunset Boulevard at the Savoy Theatre
Best Actress in a Supporting Role In a Musical
Eleanor Worthington-Cox for Next To Normal at the Donmar Warehouse
Best Actor in a Supporting Role In a Musical
Jack Wolfe for Next To Normal at the Donmar Warehouse
TAIT Award for Best New Opera Production
Blue by the English National Opera at the London Coliseum
Outstanding Achievement in Opera
Antonio Pappano for his role as musical director of the Royal Opera House
Best Actor in a Musical
Daniel Mays for Guys and Dolls at the Bridge Theatre
Best Actress in a Musical
Caissie Levy for Next to Normal at the Donmar Warehouse
Best New Dance Production
N/A. Haven’t seen any of the nominees.
Outstanding Achievement in Dance
Unusual Rigging Award for Outstanding Achievement in Affiliate Theatre
N/A. Haven’t seen any of the nominees.
Sir Peter Hall Award for Best Director
Jamie Lloyd for Sunset Boulevard at the Savoy Theatre
Best Actress
N/A. Haven’t seen any of the nominees.
Best Actor
James Norton for A Little Life at the Harold Pinter Theatre and Savoy Theatre
The Londoner Award for Best New Play
Dear England by James Graham at the National Theatre – Olivier and Prince Edward Theatre
Mastercard Best New Musical
Next To Normal, music by Tom Kitt, book and lyrics by Brian Yorkey at the Donmar Warehouse
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Post by AddisonMizner on Mar 9, 2024 17:23:17 GMT
I have been to see the tour at Curve twice this week (once for the evening performance last Saturday, 2nd March, and once for today’s matinee performance ). When I saw this in London, I felt it was the best thing I had ever seen. I went in knowing absolutely nothing and it completely knocked me sideways. Now I know the show very well, but it loses absolutely none of its impact on a second or even third viewing in its tour incarnation. It is quite simply STUNNING! I still laughed, cried (a lot) and laughed again. Therefore, I felt it appropriate to repost my review from London, as it all still applies:
I am just out of today’s matinee, and all I have to say is WOW! Just WOW!!
A stunning, towering achievement of musical theatre, so beautifully crafted. Joyous, uplifting, moving. The script, the songs...just everything blew me away and has made me truly lost for words. It makes you cry (ugly tears!), then laugh the next moment (and there are some real belly laughs in this) and does so in a way that is never jarring. Plus, all of this is done with just some tables and chairs, and some clever lighting, proving you do not need fancy sets, just a great piece to really engage.
The company deliver the material with aplomb, and it really comes across that they feel blessed to be in the show. It feels like a cast of more than it is, as they morph so completely into the different characters that they play, that it is almost like a different actor for each role.
A show about humanity, about creating something positive in the darkest of times. The people in this story shared this moment in time together, and I think that is what the matinee audience felt today. I urge all of you to go. I will certainly be recommending to friends, and if I can, going for another visit.
To end where I started...WOW! I am an islander! Now I need to go and cry alone somewhere for a moment.
5 stars.
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Post by AddisonMizner on Feb 25, 2024 15:59:14 GMT
Is this still due for London?
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Post by AddisonMizner on Feb 17, 2024 23:52:44 GMT
I've never seen a Welsh National Opera production, but have wanted to. I am thinking I may book the PETER GRIMES in Birmingham next year, especially as Nicky Spence is singing the title role, which I hadn't realised before.
It is true that the rest of the season leaves a lot to be desired, but that is the case for so much of the UK opera scene at the moment. Many of our singers are going abroad as there are just not the same opportunities here as in other places. Plus, the pay is much worse.
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Post by AddisonMizner on Feb 17, 2024 20:37:32 GMT
Finally caught GUYS AND DOLLS at today’s matinee. I can’t believe that I’ve only just got around to seeing it. This really was an incredible experience.
My only other experience of the show was the Ewan McGregor Michael Grandage/Donmar production at the Piccadilly, which I remember absolutely loving. This new production is in a different league though, and is really inventive.
Firstly, the cast are brilliant. I went for Celinde (and she was gorgeous in this. Her Sarah Brown was a real fire-cracker - smart, knowing, sexy, vulnerable. The chemistry between her and Sky was palpable. A great actress! And my God, the voice is beautiful. I had shivers during ‘I’ll Know’. She does more with the voice here than in LOVE NEVER DIES, which is an out-and-out legit sing, and really shows other sides to it. I can’t wait to see her do other roles. She could certainly follow in Kelli O’Hara’s footsteps on this side of the pond).
However, all the cast are wonderful. Daniel Mays had a boundless energy and attack as Nathan. He was an absolute joy to watch. The same goes for Marisa Wallace as Adelaide. Cedric Neal was a cheeky presence as Nicely, and brought the house down with ‘Sit Down You’re Rocking the Boat’ (3 times)! George Ioannides was a suave Sky, with the voice of an old-school crooner.
I did the immersive standing option, and can’t imagine doing anything else for this show. It is truly immersive (not like some of these other shows that have been billed as such, but then aren’t). The stage crew do an absolutely mammoth job, and it is more than deserved that they get their own bow. It really adds an extra dimension to your experience, being so close to the action, and interacting with the actors. I was mere inches away from Marisha and Celinde when they did their big duet in Act 2. I was worried that 3 hours was a long time to be standing, but needn’t have worried. The time absolutely flew by!
The piece itself is an absolute masterpiece. It is incredibly well crafted. All the songs are winners. The book is so funny too.
So glad I saw this before the cast change, although this show would reward repeated viewings (something I am not really a fan of - there is just too much else to see)! There is so much going on, and so many little interactions with audience members that are missed on a first viewing. I may well go back (plus, Celinde is staying).
An easy 5 stars (my second of the week).
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Post by AddisonMizner on Feb 17, 2024 20:00:20 GMT
I went to see last Sunday’s matinee (11th February). I am a fan of the TV show, and have seen all four seasons (Season 4 is brilliant).
Visually, it is incredible. The opening sequence is breathtaking, and sets the scene perfectly for what is to come. The whole first act zips along.
However, the second act is not quite as strong. The slow motion element near the end is brilliant though.
Based off of this, I have some theories for Season 5 (hence why I have put this in the spoiler thread).
I am assuming that Patti will show up at some point in Season 5. She seems to be Vecna/Henry‘s only weakness, and so could hold the key to defeating him.
Does the blood-type play an important role, as this is a piece of information that we have not had before? It is certainly not mentioned in the TV series.
The same goes for the cave mentioned in Nevada. Could this be some sort of clue to the denouement of Season 5?
All in all, this was still a 5 star experience for me.
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Post by AddisonMizner on Jan 30, 2024 19:12:37 GMT
One of my favourites!
I have booked the Opera North production in Leeds, but will be booking this too.
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Post by AddisonMizner on Jan 12, 2024 19:55:10 GMT
This is very exciting news! I don’t know if I can contain myself until the Spring though.
All we need now is a London production!
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Post by AddisonMizner on Jan 6, 2024 21:14:02 GMT
Isn’t Hercules rumoured to be going in after Frozen? I would love this if true! I know the production in the States was not well received, but I love the score. One of Disney‘s best alongside HUNCHBACK.
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