ALW's Cinderella - Gillian Lynne / U.K. Tour (rumour)

No pumpkins or coaches or mice.
No dogs
No full nudity
Moderately high stage.
Yes there are some sexy ladies, though ymmv as to what sexy is.
No flying carpets, elevators or broomsticks

I heard the band are at home performing via Zoom.

Hope this works:

postimg.cc/gnzRZb9C

The band are situated on a platform stage right.

It is a teeny band. One of the things that made it hard for me to enjoy the show last Friday was the orchestrations (for which ALW has sole credit). 

It relies heavily on pre-recorded keyboards, including all the drum and percussion parts. This inevitably makes it all feel somewhat mechanical and  lifeless, and denies the MD of having the freedom to respond to the energy of the cast and audience and pace the show accordingly, which is at the heart of the experience of both musicals and opera. 

It's a real shame there's no trumpet, as the show uses a large number of 'brass' fanfares, all of which sound like a cheap synth. I was also perturbed that the guitarist is doubling bass - a very worrying sign, as it means that most of either the guitar or bass parts must have been pre-programmed on keyboards. 

The show wants to sound big and lush, and certainly it manages that with the swelling string sounds, but elsewhere it sounds worryingly like a demo that's supposed to be fleshed out by real musicians later. I assume that, on the CD, they've used a full orchestra, but I still wonder if the brass parts will sound synthesized. Obviously ALW must like the sound, but to me it sounded worryingly cheap and tinny. 

This puff piece in the Daily Mail reckons.....

"There’s a full orchestra blasting out up in the gods".

Mind you, they're impressed that there's....
"A fantastic set on a fully revolving stage".

As opposed to one that only revolves half way round and then has to shuffle back again sheepishly?

www.dailymail.co.uk/tvshowbiz/article-9731193/JANE-FRYER-stage-provides-glimmer-hope-theatres.html

Is this the first musical with an 'original' story that this director has directed? I have hated everything he has ever done (that I've seen) and that was with very well established and already brilliant shows. School of Rock is the only one I can think of that was 'originally' directed by him, but that was based on an already successful (and good) film and you can't go too far wrong with that. Directing a brand new musical, with an original story is a very different thing and much more difficult to do well. My fear was always that he wouldn't have the skill to make this work. I don't understand why he gets work, but could it be that ALW really likes to be in control and is able to do this with this director? Sometimes a show needs a really strong director to point out and work out what doesn't work and to be able to offer ways to put these issues right - from just reading the script etc - not during previews. Though I appreciate that even the best director can end up having to make many changes during this time. If this does end up with bad reviews it will be a great shame, but let's hope they manage to make the improvements needed before the press night. I look forward to seeing it sometime in the future and envy those who have got to see it at the very beginning. I will very much look forward to hearing from those who have seen it at this point and who will also see it on or after press night to find out what changes have been made. Thank you all so far for your thoughts and descriptions of what you have seen. It is so good to read about new work coming to life again in the West End.

Saw this tonight, I appreciate its previews but after 18 months of writing time (both story and music) and endless collaboration, I'd expected something a bit more put together than what I witnessed tonight.

Positives first, the revolve gimmick is great but is, in my opinion, a very clear cover up. Some of the songs were great, some shouldn't have made the cut. VHB... yeah, we all know she's fantastic. That's it.

I've seen most shows in London over the last 15 years from their preview stage and this one is near the bottom despite having the most time to write knowing who was cast etc. The story was impossible and at times, embarrassing. There was definitely bits and pieces in there that will obviously be cut... the incredibly long song at the beginning in the forest being the most obvious. I have to say I wasn't a fan of the godmother and felt that whilst this entire story is called 'Cinderella' and its supposed to be be alternative version, aside from the slipper, there was no other real link. The midnight reference is lost because its shouted. Rebecca Trehearn is fantastic but her script doesn't allow her to go any further.

I don't understand why some have profanities, bastard, knob etc. And then the obvious rhymes in other dialogue and lyrics is replaced with a PC version... it's either all in or not, why not go the whole way?

The way the show ended so abruptly is beyond me, if the writer is such a feminist, why not adapt the ending and have Cinderella not needing a man and keeping a friendship with the Prince? So much has confused me. One minute it's a feminist version (which I love!) and the next minute it's back to being a standard boy gets girl show.

I have to say, I really didn't like CHF in this, she just doesn't do 'mean' or 'bad', her portrayals of those consist of 3 different facial expressions and a key change. I did however love her ballroom solo.

I'm just lost with it. Mostly, i feel sorry for the ensemble, they work hard and I truly believe that they are an addition, the show really could happen without them. They've been written as an afterthought and I think that's quite sad.

So yeah, those are my opinions on my long train journey home, i appreciate some may not agree but the UK has produced much, much better shows than this.

Thanks.

No percussion. yikes.

Don't know if someone has posted the already bu Carrie Hope Fletcher is scheduled to ne on Sunday brunch this weekend

Just a quick thought in addition to what I posted last night, why has he not called this 'Bad Cinderella'? The title song he insists on reprising throughout and the lack of relatable content to the original fairytale, surely that name would at least forgive some of the choices he made?

I did wonder about the title. A lot of people will expect Cinderella! Pumpkins, a search for the owner of a shoe and all that. I loved the show but think some people won’t get what they expect