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

I absolutely love ‘The Armed Man’. Such a gorgeous song cycle, and the ‘Benedictus’ moves me in ways I didn’t know were possible.

So maybe folk gave 1's accidentally when they meant to give 5's?  :-)

Ivano's back in the show. He's wearing some kind of brace on his thumb so clearly not 100%, but if you didn't know you wouldn't be able to tell. A few tiny bits of blocking in Man's Man are changed so he doesn't have to catch the shot put(? cannon ball? whatever it is that they throw at him) or do push ups, and he doesn't have the quick change into and out of the fencing jacket. But his dancing at the wedding party was still fantastic. I thought they'd tone it down, but if they did, I didn't notice. It was great to have him back, he really does deserve all the applause he gets.

If you go hoping for a score that sweeps you away like Phantom, Sunset etc. you will be disappointed, it's not that kind of show. This is more a fantasy world for you to step into. I rate ALWs score for Cinderella very highly. It's not on a par with his very finest work, no, but then we wouldn't dismiss every musical by Jerome Kern that isn't Show Boat, would we? This is in a different vein to his big romantic shows, it taps into other sides of his musical personality, but it is no less clever in its own way. The only song I would say I dislike is "I know I have a Heart", which as a melody is rather weak, subpar for ALW. The other pre-released songs are easy to dismiss because they are not as enjoyable outside of the context of the show as other songs of his, which is why I was disappointed when I first heard them. I didn't love "Bad Cinderella" when I heard it originally, for example, but was thrilled with it in the theatre because of the dramatic power it delivers at that point, particularly in connection with its intro "It has to be her" (which of course you don't hear in the pre-released version). It was a perfect introduction to her character. "Far too late" is a pretty ALW song, only middling ALW if you look at it objectively, perhaps the equal of or slightly better than "I'm hopeless when it comes to you" from Stephen Ward. However, this also works perfectly as part of the Cinderella score. "Only you, Lonely you" is perhaps the most enjoyable song to hear out of context but even this takes on a new dimension in the musical and, as such, becomes something of a showstopper. However, I think the important thing to keep in mind is that ALW isn't primarily trying to come up with hits outside of the show but to serve the drama of the story. When I went to see the show I was delighted that there was far more to enjoy in the musical than the pre-released songs (which were good). It showed that even now after all these years ALW hasn't lost his great gift for melody. There are a few lulls unfortunately; the ball, for example, is a rather ordinary pastiche, very well crafted, but I would have preferred that ALW come up with something more original and exciting at this point. I feel this should have been a big highlight in the musical, a centrepiece of sorts, and this was something of a missed opportunity. If he was going for pastiche here he should have tried to emulate Tchaikovsky or Strauss II. I was also rather surprised that Cinderella's soliloquy at the end turned out to be a medley of her earlier songs. It would surely be better to have something entirely new for her to sing at this point? They might have considered a more elaborate dance sequence in "Man's Man" but I'm guessing the cast were not trained dancers which would have made that more difficult. This might also be why some of the choreography was rather rudimentary. 

the set design and costume are better then i thought they would be

I have actually. I have seen Les Mis and Phantom.  I find the set to be modern and unique. I do like different sets and costumes. And these are different and I do enjoy them from the photos I have seen.  I did not enjoy Phantom or Les Mis.  I saw Phantom on Broadway and Les Mis in West End . I found them both boring to be honest.  I do find the set to be underdeveloped in this. But not bad at all.   It reminds me of Hairspray to be honest.   I actually like style of the show. I do like the quirky nature of them And some of the sets look amazing. 

From all the cookie cutter costumes and sets in the world I do like when someone tries to do different.   

Just got a text as I was going tonight!

I waa sat in Palladium waiting for Joseph matinee to start. At least I've got to see one show.

I'm not suggesting the reason for today's cancellation is to do with a cast or production team member - but knowing someone in another show that lost performances it's a horrible knife-edge everyone's on, on a daily basis.

I saw a recent Vlog by Carrie, and was surprised when she arrived at the theatre in a minicab because the Metropolitan line had let her down. Perhaps the tube is usually better than negotiating car traffic - but it highlighted the tricky choices performers and production teams are having to make. I thought the producers might send a car really in these difficult days.

As Danb and others said above, hope they're all ok.

Hi Jon - no blame from me; just wondering what I'd do if my job was so time critical, and my health or covid status enmeshed with others. So difficult. On the day of her blog it was an unscheduled stoppage on the Met line. I'd assume a cab with separation between driver and passenger is safer than a train - but I don't have data to back that up.

I do agree.  I may sound brutally pragmatic but....just til Press Night?   Opens a can of worms re. are you protecting us, or the show?   And yes, an unlucky moment can happen even in a more protected setting, but public transport isn't what I'd use if in a crucial moment in my job.  One day we'll let people live in all those half empty office blocks that early and night workers have to expensively commute past!

Things change mid-August when the requirement to self isolate falls away for those who are double vaccinated - just hope that we get there without occurrences in the meantime requiring much tighter control of events.