1,102 posts
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Post by zak97 on Jun 9, 2018 18:24:39 GMT
Josie Walker, Jenna Russell and Joanna Riding strike me as three ladies who should be contenders to star in this.
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1,210 posts
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Post by musicalmarge on Jun 10, 2018 8:06:42 GMT
Josie Walker, Jenna Russell and Joanna Riding strike me as three ladies who should be contenders to star in this. I hope they cast complete unknowns or bring the Broadway leads. The whole reason why this piece works is because the actors feel and look like everyday people. It’s real and raw and in my opinion would be better without any of the names mentioned above.
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Post by tommy123 on Jun 10, 2018 9:05:21 GMT
Josie Walker, Jenna Russell and Joanna Riding strike me as three ladies who should be contenders to star in this. I hope they cast complete unknowns or bring the Broadway leads. The whole reason why this piece works is because the actors feel and look like everyday people. It’s real and raw and in my opinion would be better without any of the names mentioned above. To most though, these wouldn’t be names. Apart from maybe Jenna Russell thanks to EastEnders. Either way - I can’t wait to see this! Hoped to see it on Broadway but never had the chance!
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Post by Deleted on Jun 10, 2018 9:10:14 GMT
Josie Walker, Jenna Russell and Joanna Riding strike me as three ladies who should be contenders to star in this. I hope they cast complete unknowns or bring the Broadway leads. The whole reason why this piece works is because the actors feel and look like everyday people. It’s real and raw and in my opinion would be better without any of the names mentioned above. For once, I do agree - partly - with Marge here. Although I wouldn’t say it’s a necessity, many of the OBC has enjoyed healthy careers on the stage before Come From Away, and those who follow the likes of actors in theatre would already be familiar with the likes of Caeser Samayoa and Chad Kimball. If you were to mention the names Josie Walker or Joanna Riding to Karen in HR I doubt she’d have a clue who they were either. They’re hardly Elaine Paige or Alfie Boe.
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7,491 posts
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Post by alece10 on Jun 10, 2018 9:38:15 GMT
I will probably be struck off the board for saying this but I sampled the OBC just now on I tunes and I really didn't like the music. There was one song that was a bit Dolly Partonish which I quite liked but the rest did nothing for me. Probably I would think differently if I saw the show and heard the music in context. But unless there are people in it I really want to see then I will give it a miss until the offers start coming in.
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Post by Deleted on Jun 10, 2018 10:42:49 GMT
I will probably be struck off the board for saying this but I sampled the OBC just now on I tunes and I really didn't like the music. There was one song that was a bit Dolly Partonish which I quite liked but the rest did nothing for me. Probably I would think differently if I saw the show and heard the music in context. But unless there are people in it I really want to see then I will give it a miss until the offers start coming in. Completely agree with you. I get the emotion and the sentiment of the show of course, and it is an incredible story of humanity at it's best. BUT, I have the CD, have listened twice, and literally have no interest in listening again (same with Evan Hansen and Waitress TBO). Found the music bland and forgettable. Likewise I would be interested in seeing this based on others positive experiences, but only when the deals come in. Deffo won't be forking out £75.... I guess opening in January and going immediately into the GILT offers unlikely....
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4,588 posts
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Post by Someone in a tree on Jun 10, 2018 15:26:35 GMT
The recording presses buttons in me that very few can do - it makes me cry. I find it so moving.
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4,549 posts
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Post by Mark on Jun 10, 2018 16:27:27 GMT
I saw the show again last night on Broadway, it’s just outstanding and really hits your emotions. The cast will make or break this. So glad we are getting something so fresh in London, I just pray it does well.
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2,557 posts
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Post by viserys on Jun 10, 2018 18:02:01 GMT
I saw the show again last night on Broadway, it’s just outstanding and really hits your emotions. The cast will make or break this. So glad we are getting something so fresh in London, I just pray it does well.
I am sure it will... everyone who's old enough (gah I can't believe I have to say this but it IS 17 years ago now...) remembers 9/11 well, what they were doing when they heard the news and the aftermath that followed... and I think the show brings home in some lovely little way how people rallied and stuck together and supported each other. Something about basic human kindness that's just deeply touching.
And while I agree the music isn't calling to be played on repeat, it supports the show perfectly well. And last not least, this is (for me) a truly uncommercial work of the heart and not one of these "let's milk a franchise" things, where lame songs are just thrown at an existing movie or someone's biography is turned into a jukebox musical and I think it's that heart that shines through.
I haven't seen it live yet, but I will definitely support the show and book a ticket when they go on sale.
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151 posts
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Post by gra on Jun 10, 2018 19:04:35 GMT
I worry that this may not do well.
The location of the Phoenix and the lack of any general audience awareness of the musical means that the marketing will have to be aggressive.
Hope I'm wrong, but the average theatregoer has little awareness of Broadway.
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Post by Deleted on Jun 10, 2018 19:47:44 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road.
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Post by waybeyondblue on Jun 10, 2018 20:24:15 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road. Yep, much better to have a clear title such as The Voice of the Turtle. Whilst we’re at it let’s assign ownership to the poor sods who copped for it locally. Greatly relieved I’m not in Manchester or Warrington or Birmingham or near any narcissist.
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Post by Deleted on Jun 14, 2018 9:39:43 GMT
With it opening in February I believe it should just make the cut off for the Olivier Awards next year. So what could be nominated next year? Come From Away Strictly Ballroom Tina Turner - The Musical Heathers Fun Home Sylvia Twelfth Night Hadestown I read a while ago it has to of done at least 30 performances before the cut off to be Olivier eligable. So it is going to be very on the line if it does make eligability. The 2019 seems to be a very weak year for best musical, Come From Away has a great chance of winning next year. it will go head to head with Fun Home. Also The Band which will have done 50 performances at the Theatre Royal Haymarket, and Ruthless!, Kings of the Rose and Six all at the Arts Theatre, which had eligible productions last year.
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Post by Deleted on Jun 14, 2018 11:31:48 GMT
I have given the Cast Recording another listen today. I am on board with the message of the show, and some of the songs are great (namely Me and the Sky), but otherwise, I actually fipound myself quite bored. Alot of it feels just like filler tracks, the ones you skip over to get to the good stuff. That said, I hope it has a decent run in London. I won't book in advance or pay expensive prices to go based on prior knowlage of the show, but casting and reviews may tempt me. I do think that this will be a show that will need the reviews to work out. Because if people are worried about Dear Evan Hansen or Waitress coming over and not working out, this is probably the least known of them even to theatre fans, so it wil certianly be interesting to see how it pans out. Hopefully smart promotion and casting prior will help it.
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4,631 posts
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Post by Phantom of London on Jun 14, 2018 12:29:30 GMT
Surely you cannot judge a musical by listening to the cast recording.
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Post by sf on Jun 14, 2018 14:30:57 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road.
It's by Canadian writers, and was written for a Canadian audience, although it ended up being produced in the US first (there were workshops at Sheridan College in Oakville, just outside Toronto). 9/11 belongs to New York, Washington, and Shanksville, PA - but this particular related event belongs to Canada (and not just to Newfoundland, because Gander wasn't the only place where the locals took in passengers who were stranded when US airspace closed).
Emotional resonance? Certainly for me the recording has it - but then, I was living in Canada on 9/11.
That said, the title is specifically a Newfoundland expression rather than a Canadian one - but it does make perfect sense. I'm sure it'll be just as possible to sell the show with that title in London as it has been in New York - that particular expression is no better known in the US than it is here.
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Post by Deleted on Jun 14, 2018 14:42:45 GMT
Surely you cannot judge a musical by listening to the cast recording. Yes and no. You can get a good idea of how much you like the music, and a reasonable idea of who the characters are and what the story is (obviously depending on how complete the recording is; sung-through musicals lend themselves more readily to audio-only judging than musicals with lots of book scenes). I mean, I was a kid before the internet, and I didn't start going to the theatre as an active hobby until I was an adult, so I didn't have regular theatre trips and bootlegs and YouTube to work with. *All* I had was the cast recordings, but that didn't stop me loving the musicals I listened to. I think as long as you're open to the possibility that seeing a production performed may change your opinion, it's reasonable to make a fair amount of judgement based on the cast recording. Especially nowadays, when there *is* so much more available online than there was when I was a teeny wee theatre kid.
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2,041 posts
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Post by 49thand8th on Jun 14, 2018 14:49:54 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road. That's interesting, because I first saw the show at Ford's Theatre in Washington DC and wasn't sure how it would play here in NYC due to the location. But lo and behold! Also, musicals about a specific event or country have done well outside their sphere of direct influence. Remember Evita?
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Post by Deleted on Jun 14, 2018 14:55:26 GMT
^ I wish it well, I really do, and I'll be booking tickets. I suppose where I'm coming from is what kind of musical really gets punters coming into the West End these days? Things like a Disney, a jukebox, something that's been running for years and years, or something with somebody off the telly in it. Depressing really, but true. Edit: with regard to the title, it’s not a term I’m familiar with, and I’ve had a quick Google and I’m still not sure what it means. I’m not always well informed, I’ll admit, but I’m not particularly thick. I just think the average person on the street won’t have much of a clue either. But I’m willing and not too proud to be proved wrong.
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Post by Deleted on Jun 14, 2018 14:57:38 GMT
I definitely think this will rely on word of mouth just like Broadway, which propelled its success and popularity. No, it’s not an instant sell on the surface but the material and product sells itself when experienced in the flesh. I almost bypassed it last April on my trip to NYC, but the momentum of strong recommendations was just gathering pace - I was able to easily get Rush tickets without queuing at silly o’clock (unlike now). I would urge people to go along even if the cast recording doesn’t appeal right now. For me, many musicals cannot be judged purely by the numbers out of context, as they weren’t written to be judged in that manner.
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Post by Deleted on Jun 14, 2018 14:59:03 GMT
^ I wish it well, I really do, and I'll be booking tickets. I suppose where I'm coming from is what kind of musical really gets punters coming into the West End these days? Things like a Disney, a jukebox, something that's been running for years and years, or something with somebody off the telly in it. Depressing really, but true. Hamilton ticks none of those boxes though, so it is doable.
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4,549 posts
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Post by Mark on Jun 14, 2018 15:06:32 GMT
As someone who’s seen the show 3 times (twice on Broadway and once in Toronto), it’s not something I really listen to a lot, aside from a few songs, but when you are watching it in the theatre it is pure magic. I was talking to a friend who is a big supporter of “new” musical theatre, and we both agreed a lot of new British musical theatre looks incredibly lazy when you would place it next to Come From Away. The writing is so tight. It’s also about an hour 40 straight though, bound to be popular with theatreboarders for that alone!
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2,041 posts
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Post by 49thand8th on Jun 14, 2018 15:07:31 GMT
That is absolutely the case. I love it but I also don't listen to it a whole lot. The show is speedy, efficient, and heartfelt.
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Post by Deleted on Jun 14, 2018 15:20:11 GMT
I can't wait for it to come over. I'm learning Canadian in preparation. I can say "aboat" instead of "about" and I'm trying to finish all sentences with "eh". I already have part of my opening night outfit ready, eh.
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2,706 posts
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Post by Cardinal Pirelli on Jun 14, 2018 15:34:32 GMT
Cast of a dozen, design on a human scale, it stands a decent chance of more than breaking even. It’s also a welcome reminder in these dark days that Canada is not the enemy....
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Post by Deleted on Jun 14, 2018 16:53:36 GMT
Surely you cannot judge a musical by listening to the cast recording. I didn't judge the show, I judged the Cast Recording. Which I think is OK to do if you listen to a Cast Recording.
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4,631 posts
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Post by Phantom of London on Jun 14, 2018 17:05:15 GMT
I can't wait for it to come over. I'm learning Canadian in preparation. I can say "aboat" instead of "about" and I'm trying to finish all sentences with "eh". I already have part of my opening night outfit ready, eh. You can also have a couple of brownies for breakfast.
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4,631 posts
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Post by Phantom of London on Jun 14, 2018 17:28:53 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road.
It's by Canadian writers, and was written for a Canadian audience, although it ended up being produced in the US first (there were workshops at Sheridan College in Oakville, just outside Toronto). 9/11 belongs to New York, Washington, and Shanksville, PA - but this particular related event belongs to Canada (and not just to Newfoundland, because Gander wasn't the only place where the locals took in passengers who were stranded when US airspace closed).
Emotional resonance? Certainly for me the recording has it - but then, I was living in Canada on 9/11.
That said, the title is specifically a Newfoundland expression rather than a Canadian one - but it does make perfect sense. I'm sure it'll be just as possible to sell the show with that title in London as it has been in New York - that particular expression is no better known in the US than it is here.
Before it came to New York and reading on an American message board Broadwayworld a lot on there were say they were going to skip this as the emotions are still too raw, low and behold this is a smash hit in New York, as the musical is a metaphor for 9/11 and really is about the people of Newfoundland, the show has heart and that’s what has came through and won the audience in NYC.
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Post by david on Jun 14, 2018 18:32:21 GMT
Just had a listen to the OBC recording for the first time. I have to say I actually enjoyed the music and I can understand why people have taken to the show over in NY. The music and lyrics have lot of heart in my opinion and really capture the emotion of the events that the show portrays.
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Post by sf on Jun 14, 2018 19:16:17 GMT
the musical is a metaphor for 9/11 It isn't a "metaphor" for anything. It's about something that actually happened, which was part of the chain of events set off by the hijackings, and it draws significantly from interviews with real people.
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