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Post by sf on Dec 9, 2023 18:32:12 GMT
...and also, one of the "delights" of seeing a family-oriented show from a seat on the end of a row: discovering just how few parents these days can be bothered to teach their children to say "excuse me".
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Post by anthony40 on Dec 10, 2023 19:13:14 GMT
For anyone interested the 2020 film of the same name with Anne Hathaway and Octavia Spencer will be screened at 17:55 on New Years Day and then on i-Player shortly after that.
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Post by Ade on Dec 12, 2023 23:21:43 GMT
Saw it last night. No technical hitches, and it's a very likeable show. Clever, witty music, phenomenal performances, a very funny book, and a few things that need tightening up. It could stand to lose a few minutes (and the National *really* needs to get better at getting people seated and starting the show on time), and 'Get Up!' has to be restaged if the show has a life after this, because the current staging of it is so flat-out bad that I can't believe it made it out of a rehearsal room. Apart from that, it's enormous fun. Sally Ann Triplett, Daniel Rigby, and Katherine Kingsley are clearly having a great time, and the kids are flawless. It's not going to be the sort of worldwide hit Matilda was, simply because it's a much darker story with a much darker ending (which I think Lucy Kirkwood's adaptation negotiates quite well). But it does deserve a longer life, and I want a cast recording. I really wasn't in the mood for a Festive Family Show last night - lousy week, not enough sleep - and I had a much, MUCH better time than I was expecting. A solid four stars from me. Saw it tonight and this completely sums up my views on it. ‘Get up’ was blooming awful, I felt like I was watching a kids nativity. But there’s a lot to love about the rest of it.
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Post by dlevi on Dec 13, 2023 10:57:06 GMT
I saw this last night and at least it was better than Hex. But aside from the central performances of Sally Ann Triplett, Katherine KIngsley, Daniel Rigby and the boy who played Bruno, George Menzies Cutts - it's a slog of an evening. How many workshops have they done? How many years of development? And this is the final result? The sets looked cheap, the lighting by the usually reliable Bruno Poet was of a grammar school quality. And the score was a mess of generic styles. When the big ballad "Stand Up" occurred I thought: really? This is the best you can do? In reading director Lyndsey Turner's bio in the program I noticed that she has seemingly never directed a musical before -and it shows. I'm sure they want an extended life for the show but if they do - they need to get to work with people who know how to make a musical.
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Post by agent2023 on Dec 14, 2023 10:27:33 GMT
I saw this last night and at least it was better than Hex. But aside from the central performances of Sally Ann Triplett, Katherine KIngsley, Daniel Rigby and the boy who played Bruno, George Menzies Cutts - it's a slog of an evening. How many workshops have they done? How many years of development? And this is the final result? The sets looked cheap, the lighting by the usually reliable Bruno Poet was of a grammar school quality. And the score was a mess of generic styles. When the big ballad "Stand Up" occurred I thought: really? This is the best you can do? In reading director Lyndsey Turner's bio in the program I noticed that she has seemingly never directed a musical before -and it shows. I'm sure they want an extended life for the show but if they do - they need to get to work with people who know how to make a musical. I do think Get Up has the potential to be a decent musical theatre number, if not a great song in itself - but when they are all stood there like the Nativity scene in Love Actually, there’s absolutely nowhere to take it. Those hideous costumes and zero staging give it no passion. I was quite shocked given that the other ‘big numbers’ are all bells and whistles. It was incredibly out of place and I’m surprised it made it past the workshops, never mind the rehearsals and then the previews.
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Post by colelarson on Dec 14, 2023 13:13:03 GMT
Saw this again yesterday afternoon, had no show stop this time. I was face on this time so could see more in the Grandmother's song about Helga and the lift in the hotel scenes.
I had different lead children and they were putting their heart and soul into their performances.
There are no BIG memorable numbers and still don't think the planted kid is needed. The costumes for the kids do look cheap and out of place! The magic is not amazing in the transformation scenes and could see more clearly the planted children in the hotel scenes where Bruno and Luke are running around.
Sally Ann Triplett is great as the Grandmother and Katherine as the Grand High Witch did get a lot of laughs and applause for her song about being child free. Daniel Rigby is superb and I reckon he sees how many "never never never's" he can get in when he says about not saying the Mice word to his staff!
I do like the ending as this is the same in the book and Roald dahl never liked the ending in the original movie so nice they have stuck to it.
There is a lot of talent on stage in the witches ensemble - you do wish they would get a bit more to sing.
It could be better but it's enjoyable. Audience was made up of mainly adults and school children and....Mark Shenton who was also there the first time I saw it!
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Post by parsley1 on Dec 15, 2023 21:59:02 GMT
Loved this
Perfectly imperfect
The scenes with the witches are almost frenzied in their staging and ritualistic chanting
Any weaknesses can be overlooked by the fact musicals are (for me always) an inherently tacky in so many ways
I far prefer the book they have created for this to Matilda although I have to say whilst Dahl has amazing ideas they are pretty protracted
The cast are having a fabulous time it seems
I do agree that there is some mismatch between some parts of the staging and sets etc
Whilst most of it is wildly extravagantly done there are some evident short cuts particularly with props
But I think overarching is a massive tongue in cheek approach from the director and entire creative team
The interval music says it all and reflects the exact tone here
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Post by parsley1 on Dec 15, 2023 22:05:06 GMT
And I agree the staging of Stand Up is rather incongruous
One can only assume they are going with a simple from the heart approach
We need to remember though that NO theatre show is a Madonna show or Las Vegas spectacle
They just don’t have or are unwilling to extend their budget
One prime example is Life Of Pi which was so ridiculous and naff I just could not believe what I was seeing
Anyway I digress Whatever the intention was Stand Up needs restaging maybe with addition of adult actors on stage I will feedback to Lyndsey
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Post by alicechallice on Dec 15, 2023 23:34:54 GMT
I will feedback to Lyndsey Thanks, Indhu. Best of luck with the new job.
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Post by ceebee on Dec 16, 2023 6:06:13 GMT
I will feedback to Lyndsey Thanks, Indhu. Best of luck with the new job. And say ta-ta to Rufus from me.
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Post by ceebee on Dec 16, 2023 6:09:49 GMT
Loved this Perfectly imperfect The scenes with the witches are almost frenzied in their staging and ritualistic chanting Any weaknesses can be overlooked by the fact musicals are (for me always) an inherently tacky in so many ways I far prefer the book they have created for this to Matilda although I have to say whilst Dahl has amazing ideas they are pretty protracted The cast are having a fabulous time it seems I do agree that there is some mismatch between some parts of the staging and sets etc Whilst most of it is wildly extravagantly done there are some evident short cuts particularly with props But I think overarching is a massive tongue in cheek approach from the director and entire creative team The interval music says it all and reflects the exact tone here "...whilst Dahl has amazing ideas they are pretty protracted..." is genuinely one of the best comments on this thread. That line for me captures why translating Dahl's work to stage is so hit and miss. There's no denying his talent but his style feels laboured and clunky in today's world.
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Post by iwanttix on Dec 17, 2023 20:13:41 GMT
Saw this last night and we had a show stop due to a technical issue. Lots of banging going on with the hotel front desk to get it working right...
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Post by fluxcapacitor on Dec 20, 2023 10:16:25 GMT
Saw this last night and many other posters have already echoed my views. It’s… fine? Enjoyable enough, with some real standout moments and performances. When the witches are on stage it excels - the tone is just right. They’re frenzied, ugly, scary and inhuman. But other elements feel like (bad) panto and badly thought through. I KNOW we allow for artistic license but I feel the director has underestimated the fact that even a “kids show” needs logic and reason, where so much happens here that makes no logistical sense or opens up other questions. Personally I feel it needed some more development just to tighten up and allow a dramaturg or similar to address its inconsistencies: why can the mouse kids sometimes open and close doors and fridges? Why is mouse Bruno eating normal sized food whilst the bottle prop Luke carries around is a large prop? Why are most transformed kids in (horrible) literal flat pack costumes representing “static” items whilst Helga is in full gnome costume and able to walk around? Why does Helga tell Luke to “sit down” moments before singing a song demanding he “get up”? Can the transformed kids actually move and talk Toy Story-style or is this just something Luke can sense? How does Luke “overhear” Gran telling the audience Helga’s story through song - in the world of the show, was she just… talking to herself? Why are the kitchen staff so dirty? Why is Bruno parachuting from the roof of the hotel?
That sounds harsh, and I know some are nitpicking. I also appreciate it’s first and foremost a kids show and there are budget limitations, but a “kids” show isn’t an excuse for bad writing and direction. The strongest kids shows - like Matilda - create and stick to a strong core world which we get sucked into. This, unfortunately, doesn’t manage that feat. As a result, it feels uneven and it’s frustrating since it could be much better very easily. When it’s good it’s brilliant (e.g. the Witches first meeting, the Grand High Witch’s Act II solo) but when it’s bad it’s embarrassing (Get Up looks like a school assembly performance, ). Having said that, the overall design (ignoring the transformed children…), the witches themselves, the score and the lead performances (including the two lead children) carry it and at least help gloss over some issues. With a lesser cast, it could be a difficult watch.
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Post by parsley1 on Dec 20, 2023 13:57:54 GMT
I think a lot of theatre goers miss the point
Shows can be mediocre
Like anything in life
Clothes, food, relationships, government
As people tolerate it
And there are limited or finite other options
So expectations are lowered
Excuses made
Standards drops over time
The perpetrators get away with it
Can’t believe their luck
Any morals are sidelined for pound signs
And
So the cycle goes on
Once you have been you have paid and suffered
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Post by mrbarnaby on Dec 20, 2023 14:14:13 GMT
I think a lot of theatre goers miss the point Shows can be mediocre Like anything in life Clothes, food, relationships, government As people tolerate it And there are limited or finite other options So expectations are lowered Excuses made Standards drops over time The perpetrators get away with it Can’t believe their luck Any morals are sidelined for pound signs And So the cycle goes on Once you have been you have paid and suffered I want That On A Tea Towel
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Post by ceebee on Dec 20, 2023 22:10:29 GMT
"Once you have been you have paid and suffered..."
Almost Shakespearean.
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Post by FrontroverPaul on Dec 24, 2023 2:36:27 GMT
I've a single £20 stalls ticket for sale for 7pm performance Thursday 28 December, offered on Noticeboard now (may not be immediately visible) and will be returned to NT if no takers by 25/12. Details there.
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Post by FrontroverPaul on Dec 26, 2023 0:43:51 GMT
I've a single £20 stalls ticket for sale for 7pm performance Thursday 28 December, offered on Noticeboard now (may not be immediately visible) and will be returned to NT if no takers by 25/12. Details there. Ticket has been sold. Many thanks.
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Post by horton on Dec 26, 2023 9:51:31 GMT
I think a lot of theatre goers miss the point Shows can be mediocre Like anything in life Clothes, food, relationships, government As people tolerate it And there are limited or finite other options So expectations are lowered Excuses made Standards drops over time The perpetrators get away with it Can’t believe their luck Any morals are sidelined for pound signs And So the cycle goes on Once you have been you have paid and suffered I think it's unfair to suggest the cast and creative team have been lazy and not trying for the highest standards. Unfortunately, the magic hasn't happened entirely but not for want of effort.
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Post by mrbarnaby on Dec 26, 2023 10:10:42 GMT
I think this is what happens when you stage a big musical on a huge stage, and use a director who’s never done a musical before. It’s so foolish.
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Post by Someone in a tree on Dec 26, 2023 10:24:46 GMT
Similar things used to happen at ENO, John Berry would invite a film director with no theatre experience to stage something on London biggest stage. Maddness
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Post by Jan on Dec 26, 2023 11:08:54 GMT
I think this is what happens when you stage a big musical on a huge stage, and use a director who’s never done a musical before. It’s so foolish. Like Hex.
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Post by Boob on Dec 26, 2023 13:39:54 GMT
I think this is what happens when you stage a big musical on a huge stage, and use a director who’s never done a musical before. It’s so foolish. Like Hex. Rufus did that other NT Olivier masterpiece… wonder.land
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Post by horton on Dec 26, 2023 18:27:18 GMT
I think this is what happens when you stage a big musical on a huge stage, and use a director who’s never done a musical before. It’s so foolish. I'm sure you've heard the same stories I have, that focus around an inexperienced director of shows on this scale. The cast are suffering for it.
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Post by parsley1 on Dec 26, 2023 19:41:44 GMT
It’s basically sold out
And what is left is at premium prices
Think they are fine Not to mention it was critically lauded Cast recording coming Jan We have to remember our opinion on the forum is an irrelevance in the grand scheme of commercial theatre
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Post by zahidf on Dec 26, 2023 21:21:47 GMT
Going by the poll, more people like it (3 stars or more) than dislike it. Even if your benchmark is 4 stars or more, a majority of people on the forum liked it
Baz seems to say it's transferring after some work has been done on the second act
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Post by toomasj on Dec 27, 2023 3:25:55 GMT
Going by the poll, more people like it (3 stars or more) than dislike it. Even if your benchmark is 4 stars or more, a majority of people on the forum liked it Baz seems to say it's transferring after some work has been done on the second act In such small samples, with no controls, it’s impossible to tell what the public think. The only measure of success worth a damn is box office takings. The only use for ratings on Theatreboard is to find an overwhelming consensus - when it happens. Even then, there’s no guarantee an individual person will find a show to their personal tastes. The show ratings are a consensus of generally like-minded people (in that they have an above-average interest in theatre) who have actively signed up to this forum, read the Musicals forum and then chosen specifically this thread, and then seen the show in question and given an arbitrary star rating (often without explanation or justification in the thread itself about how that rating was reached - be it a bad experience at the theatre, a poor cast on the night, the show reminding them of their ex - etc etc etc). Oh and this… Well, 8 people have rated it 5 stars so far at the time of writing, and 12 people have rated it two stars or less. This would mean by the above logic that 60% more voters believe this is a poor or very poor show than a brilliant one.
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Post by ceebee on Dec 27, 2023 6:33:54 GMT
If this show transfers, it'll lose money. It's just not very good.
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Post by jr on Dec 27, 2023 7:41:49 GMT
I haven't seen it yet but will go before it ends, mostly because it's written by Lucy Kirkwood.
Whatever your taste/issues with the National, you need to be accurate. Right now positive reviews (5+4) at 37 trump negative ones (1+2) at 12. Leaving 3* as neutral
Simple maths.
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Post by zahidf on Dec 27, 2023 8:28:02 GMT
Going by the poll, more people like it (3 stars or more) than dislike it. Even if your benchmark is 4 stars or more, a majority of people on the forum liked it Baz seems to say it's transferring after some work has been done on the second act In such small samples, with no controls, it’s impossible to tell what the public think. The only measure of success worth a damn is box office takings. The only use for ratings on Theatreboard is to find an overwhelming consensus - when it happens. Even then, there’s no guarantee an individual person will find a show to their personal tastes. The show ratings are a consensus of generally like-minded people (in that they have an above-average interest in theatre) who have actively signed up to this forum, read the Musicals forum and then chosen specifically this thread, and then seen the show in question and given an arbitrary star rating (often without explanation or justification in the thread itself about how that rating was reached - be it a bad experience at the theatre, a poor cast on the night, the show reminding them of their ex - etc etc etc). Oh and this… Well, 8 people have rated it 5 stars so far at the time of writing, and 12 people have rated it two stars or less. This would mean by the above logic that 60% more voters believe this is a poor or very poor show than a brilliant one. It's pretty much sold out, so seems like the public has spoken! The reviewers have raved about it for the most part as well Not sure why you're comparing the 5 stars to 1 and 2 star reviews. I'm seeing it next week so will review it then. But by most metrics, it objectively seems popular.
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