|
Post by thistimetomorrow on Mar 2, 2023 11:16:17 GMT
It's absolutely baffling that the Oliviers nominated Clive Rowe over Patrick Vaill. I wonder how much of it is name recognition from the voters.
|
|
960 posts
|
Post by alicechallice on Mar 2, 2023 11:32:17 GMT
Why is the dream ballet painful to watch? It isn't, in my opinion. It's a piece of modern dance. It's just that it's intentionally rough around the edges and lacks the classic stylings that people expect from musical theatre, which I think is why it's come in for a lot of flak. The night I was there, you could tell the audience thought it was great.
|
|
|
Post by mattnyc on Mar 2, 2023 11:51:27 GMT
And there’s absolutely nothing wrong with modern dance. However the ballet in “Oklahoma” serves to push the story forward and that is so sadly, gone now. Plus, like I said the fog onstage makes a large portion of it (depending on where you’re sitting, I’d imagine) impossible to see so you’re just looking at smoke and an occasional figure moving around.
So for me again, it’s a matter of “WE ARE SAYING SOMETHING” but nothing is actually said.
|
|
|
Post by juicy_but_terribly_drab on Mar 2, 2023 14:57:53 GMT
And there’s absolutely nothing wrong with modern dance. However the ballet in “Oklahoma” serves to push the story forward and that is so sadly, gone now. Plus, like I said the fog onstage makes a large portion of it (depending on where you’re sitting, I’d imagine) impossible to see so you’re just looking at smoke and an occasional figure moving around. So for me again, it’s a matter of “WE ARE SAYING SOMETHING” but nothing is actually said. Even though I don't agree that the rest of the show's choices are for no good reason, the ballet was definitely the one part of the production that I did not particularly care for. It was well-performed and I actually really like the orchestrations, but the choreography I just find very repetitive (lots of galloping in circles as I remember) and doesn't really convey anything until the rest of the cast show up in like the last minute (and even then I didn't find it very clear what it was trying to say, at least compared to what the dream ballet usually conveys). It feels like it's mostly just there to set a mood really but I'm not sure it needs to be almost 10 minutes then if that's the case.
|
|
|
Post by matty on Mar 2, 2023 23:18:49 GMT
Managed to get a rush ticket this morning and was sat in A10 in the stalls. Loved being that close and getting to see the band front and centre.
I really enjoyed this production at the YV and while I think it worked better in that space,I still enjoyed it tonight. But good grief that dream ballet just did nothing for me - it feels like they've put it as the start of Act 2 so as to not encourage people to leave at the interval. It's well performed, but I didn't understand why she was hitting and scratching herself so much (maybe the meaning of the dance is obvious and it just went over my head?)
Anyway, good night out and glad I got to see this again
|
|
2,149 posts
|
Post by richey on Mar 3, 2023 0:45:20 GMT
Saw it this evening and on the whole enjoyed it, though I thought it was trying to be too clever in parts. Didn't like the dance, or the music that accompanied it, but did like the orchestrations of the other songs. Really annoying women in front trying to make clapping along happen (thankfully it didn't) then getting up and leaving during the final reprise, making the whole row stand up, which kind of ruined the mood of the ending. I was also rather surprised that having been sent a long list of trigger warnings prior to the show (including food on stage?!) and posters in the theatre, none of them made reference to the rather shocking end.
|
|
261 posts
|
Post by kyvai on Mar 18, 2023 23:25:31 GMT
Saw this tonight. I really wanted to like it - sadly, the whole thing just fell completely flat for me. And everyone around me whose conversations I overheard as well. The theatre was massively uncomfortable, physically - the lights being up made it hot and distracting. The vocals were only ok, I think intentionally as I’ve heard some of those performers sing way better in other shows. The set looks like a sauna (feels like one too haha) so there’s nothing to be said about that, and there isn’t any interesting choreography to speak of. The dream ballet sequence - that was like a random different show for a few minutes, there was no obvious relevance to what she was doing on the stage. And at the expense of off all this obvious posturing - look how modern and minimal and statementy we’re being - there really didn’t seem to be any actual point? I’m left just feeling disappointed.
|
|
3,062 posts
|
Post by Dr Tom on Mar 22, 2023 9:59:26 GMT
I made my second visit post transfer on Monday night. Everything is bedded in well now.
I got the end of Row A as a rush ticket, which is a perfect seat. Second row, but no one in front. Still pretty central, but a clearer angle to see the stage around the band. Still in the splash zone though.
One gentleman in the middle of the front row left about five minutes before the interval and didn't return.
There have been some changes since previews and a lot of things have been simplified. They no longer peel and break up the corn (or indeed have any corn on stage). And during the interpretative dance, the shoes fall one or two at a time over the course of a minute, rather than all at once. I have no idea what that version (or the previous one) is meant to simplify.
I think they do the final effect in a different way to at the Young Vic.
There is a lot of advertising for this production out around the tube network, including some big billboards.
The show also finished at 10:20pm, so shorter than before. I can't pick up on any obvious cuts, so perhaps the interval was shorter. This remains excellent.
|
|
177 posts
|
Post by tal on Mar 25, 2023 15:32:37 GMT
I made my second visit post transfer on Monday night. Everything is bedded in well now. I got the end of Row A as a rush ticket, which is a perfect seat. Second row, but no one in front. Still pretty central, but a clearer angle to see the stage around the band. Still in the splash zone though. One gentleman in the middle of the front row left about five minutes before the interval and didn't return. There have been some changes since previews and a lot of things have been simplified. They no longer peel and break up the corn (or indeed have any corn on stage). And during the interpretative dance, the shoes fall one or two at a time over the course of a minute, rather than all at once. I have no idea what that version (or the previous one) is meant to simplify. I think they do the final effect in a different way to at the Young Vic. There is a lot of advertising for this production out around the tube network, including some big billboards. The show also finished at 10:20pm, so shorter than before. I can't pick up on any obvious cuts, so perhaps the interval was shorter. This remains excellent. To be fair, they do have some corn in the second act. I think it’s during The Farmer and the Cowman, and it’s Rebekah Hinds‘ character eating a real corn during the scene. I noticed this when I went on Thursday this week. That being said, I really miss all the corn during Many a New Day. I think it was hilarious and somehow always felt quite postfeminist to me. In the current iteration, I think the women are just sitting down while singing the song. The voices are still beautiful, but the scene is definitely not as strong as it was at the Young Vic for me.
|
|
893 posts
|
Post by max on Mar 25, 2023 17:22:20 GMT
I’m so ambivalent about Rodgers and Hammerstein. Never sure whether (for Musical Theatre at that time) their touches of social commentary were brave and daring; or whether they took tough material from other sources and softened it down, keeping only enough grit to gain kudos, while probing the issues just puddle deep. I always thought Lyn Riggs was a female writer (my bad), but he was a part Cherokee gay man who had written plays on Cherokee life before ‘Green Grow The Lilacs’ that ‘Oklahoma!’ adapted. The original play had much more clarity about the conflict over best use of the land - arable or pastoral - between ‘The Farmer and the Cowman’. Crucially too, the fact that both parties were battling over land that was Cherokee homeland was in the play. “Indian Territory” is how the scene is described by Riggs. If the Farmers and the Cowman ultimately hoedown their way to a cosy handshake, it’s at the expense of the ‘Indian’ people. Riggs’ outsider was Jeeter Fry - changed to Jud Fry by Hammerstein - though Riggs didn’t write Jeeter as Cherokee. You’d think he would in order to show the expulsion of the Cherokee nation, but in his play the mainstream characters associate more with ‘Indian blood’ than the Federal United States. Riggs' Aunt Eller says of the USA, “you’d think us people out here lived in the United States! It’s jist a furrin country to me”. Neighbours respond: “Why I’m jist plumb full of Indian blood myself.” “Me, too! And I c’n prove it!” In Rodgers and Hammerstein’s hands, it’s all normalised to a USA-lovin’ tale of American absorption and expansion, {Spoiler - click to view} with a ritual rejection of the outsider. I found the revival a mix of ‘too much’ and ‘not enough’. ‘Not Enough’ - It’s very late (the final song) for us to realise that drawing up values for a “brand new state, aint that great” is what this is about. Is there anything more than that one line from a song? Certainly not enough for an audience to notice without research or a heavily-guiding programme note. The set suggests a community meeting hall where values of that new state might be thrashed out, but never names it. I’d have welcomed some added dialogue as a prologue, or simply leaflets handed out as part of the interactivity, showing voting options for ‘how we’re going to live’. Why go for the community hall if you’re not going to really exploit it? At the end, the locals get their first chance at administering justice, so that does work, but needs context in the build up for it to land with gravity. ‘Too much’ - the way everything was sexualised to the point of absurdity. Yet it does have the benefit of making Jud look no more sex-obsessed/perverted than the rest (less perhaps, at least he does his in private). {Spoiler - click to view} So the injustice at driving him out is made more meaningful. Perhaps that’s ‘Spot On’ after all. So the injustice at driving him out is made more meaningful. Perhaps that’s ‘Spot On’ after all. ‘Too Much’ - does Rodgers and Hammerstein’s work deserve to be radicalised when it still falls short of reflecting the Indian experience of Lynn Riggs? It flatters Rodgers and Hammerstein into appearing the radicals they weren’t. Or…were they?
|
|
|
Post by capybara on Mar 26, 2023 1:09:16 GMT
This show didn’t really connect with me when I saw it on Wednesday afternoon.
The individual performances were great, especially Georgina Onuorah. There were flashes of comedy that landed well but I found it to be quite inward-looking in its style.
I have never seen a previous production of Oklahoma, nor have I seen the film, so I’m not drawing any unfavourable comparisons.
It just seemed the extremities of light and dark (quite literally, in this case) contrasted a little too much to ever feel genuinely at ease with this show.
That being said, I was sat in stalls AA (rush ticket) on the left hand side, avoiding getting wet and being one seat out from being serenaded during I Can’t Say No! Being that close was special and added to my overall enjoyment.
Three stars for me. Glad I went to see it and worth the cost of a rush ticket but doubt I’d go again.
|
|
|
Post by edi on Apr 1, 2023 6:45:27 GMT
I didn't get on with it yesterday I am afraid even though I sat in excellent front stalls seats - saw all audience interaction play out just in front of me.
There were bits i really enjoyed like Patrick Vaill's Judy, the humour for example.
But it felt disjointed. Didn't like how the music was directed (singing bad on purpose) and for some reason wasn't interested in the two main characters- I didn't see chemistry between Curly and Laurey. In fact Judd came across with more depth and sex appeal
I was bored by the ballet and could hardly make out the meaning of it. And disliked the blackouts - just couldn't concentrate on what was happening on stage during those
I also disliked the oversexual tone, even though it provided some of the best humour.
Glad I went, I really wanted to see it but wouldn't recommend to a friend or elderly relatives
|
|
|
Post by partytentdown on Apr 3, 2023 14:17:26 GMT
Does anyone know of any offers for this? Are rush tickets fairly easy to get?
|
|
4,455 posts
|
Post by Being Alive on Apr 3, 2023 14:32:41 GMT
I picked up a rush ticket at 5pm on Wednesday last week
|
|
7,524 posts
|
Post by alece10 on Apr 3, 2023 15:20:42 GMT
I think the Oliviers performance proved what I already thought I knew that this would not be my kind of show. I know a lot of people love this new version but I'm a bit old school with R&H musicals.
|
|
18,816 posts
|
Post by BurlyBeaR on Apr 3, 2023 15:21:14 GMT
I wonder if this might tour after the Olivier successes? It would cost nowt, few sheets of plywood, a few guns, get it on’t road!
|
|
4,963 posts
|
Post by TallPaul on Apr 4, 2023 18:04:28 GMT
Does anyone know of any offers for this? Are rush tickets fairly easy to get? 'Show of the Week' on TKTS. Upto 48% off.
|
|
642 posts
|
Post by greeny11 on Apr 5, 2023 17:18:44 GMT
Saw this at the matinee today. My only experience of this previously was the RAH version with Scarlett Strallen and Robbie Fairchild, and this was very, very different. I thought Arthur Darvill was brilliant in the lead role, and Georgina Onuorah was excellent as Ado Annie. I was centre second row, so got an excellent view of her flirting with the man in the front row, and likewise when various male characters flirted with the female sat right in front of me. It did mean I was right in the splash zone! We had Finlay Paul as Jud (first performance), and considering my only previous experiences of Finlay were as Sam and Cooper in Comedy About A Bank Robbery (both fairly sweet, comedic characters), I was blown away by his Jud, scary yet vulnerable, and an incredibly powerful voice.
I did think there were a few weird choices, the most glaring being the Dream Ballet, which I didn't see what they were trying to do with it at all. But overall, I enjoyed it.
|
|
18,816 posts
|
Post by BurlyBeaR on Apr 5, 2023 17:54:10 GMT
Is it a condition of the custodians of the R&H properties that the ballet has to be performed? I didn’t mind it at Carousel at the OAT but many didn’t like it.
|
|
1,427 posts
|
Post by showtoones on Apr 5, 2023 18:07:45 GMT
This show is just basic....Trying to say a lot, but in turn, saying nothing. I saw it in New York but not in London so not sure if anything has changed. I find it incredibly pretentious. Speaking in the dark, showing a face up close on the vide screen. Having Judd in a hoodie...it just never worked for me at all.
|
|
2,813 posts
|
Post by couldileaveyou on Apr 6, 2023 2:52:56 GMT
howlround.com/surviving-states-audience-rejection-road-oklahomaThe guy who played Jud Fry in the American tour wrote an interesting article about how the show was almost universally rejected outside New York. "You know how some movies bomb with critics but still make millions at the box office? We were the inverse of that"
|
|
|
Post by bram on Apr 13, 2023 13:34:32 GMT
Some very odd directorial decisions. Good cast. But never really involved me.
|
|
815 posts
Member is Online
|
Post by ladidah on Apr 13, 2023 13:38:55 GMT
I think the Oliviers performance proved what I already thought I knew that this would not be my kind of show. I know a lot of people love this new version but I'm a bit old school with R&H musicals. Yes, same for me. I just kept wanting them to sing it 'properly'
|
|
|
Post by apubleed on Apr 14, 2023 12:35:22 GMT
Question - does Arthur do all 8 performance per week and if not is there a fixed schedule ?
|
|
|
Post by thistimetomorrow on Apr 14, 2023 12:44:38 GMT
does Arthur do all 8 performance per week and if not is there a fixed schedule yeah he does - I believe he said in an instagram story that he wasn't planning on taking any holidays either so he should be on every performance unless ill
|
|
|
Post by craig on Apr 18, 2023 10:12:26 GMT
Picked up a Rush ticket for this tonight. I've been very interested in it ever since New York but never got round to it there or at the Young Vic. I thought the Oliviers performance was a bit of a racket tbh, but keen to see this to make up my own mind. I'm not particularly familiar with the classic show anyway.
|
|
|
Post by apubleed on Apr 18, 2023 12:57:26 GMT
Craig I’d suggest you listen to Hugh Jackman’s ‘oh what a beautiful morning’ and maybe people will say we’re in love etc before just to understand how radically different the look/feel/sound of this production is. There are some clips on YouTube, just a couple minutes is needed.
I’m also going tonight! I saw it on Broadway and LOVED it. Can’t wait to see how it translates without the original revival cast and on a traditional stage.
|
|
|
Post by apubleed on Apr 19, 2023 6:50:29 GMT
LOVED the show last night. I would say it has transferred from Broadway very well. I am still shocked at how much depth they milked from the text and this production of Oklahoma is genuinely creepy and scary. One slightly disappointing thing I must admit is I think the lead male role is being played slightly differently here than the original in NYC - in NYC he was genuinely charming, attractive and flirtatious - he’d use this to manipulate those around him and while there was always a slight subtext of something isn’t right, it took time for it to unravel. Additionally, the leads in NYC were oozing of sexual chemistry. Here, Arthur’s character feels darker and something feels off from the start - it feels like he starts and ends the show as a predator/criminal and there was almost no chemistry between the leads (understudy Laurey on). The effect is that a bit of the joy from the production is gone, leaving mostly relentless discomfort and darkness. In NYC, we had both.
|
|
|
Post by craig on Apr 19, 2023 8:45:09 GMT
I was very pleasantly surprised by this last night, after not particularly enjoying the Oliviers performance.
Knowing some of the songs, but not the overall plot, the tone was set early on that things were heading for disaster. Even so, I found the last scene truly shocking and violent. I thought some of the theatrical devices used to create atmosphere were very effective such as the use of cameras for closeups, the total darkness and the green and red lighting.
I also enjoyed the physicality of it all too. Ado Annie's overt physical sexuality matched the lyrics and her overall story arc, whilst the relationship between Curly and Jud felt genuinely dangerous (and also a little bit homoerotic in places!?) I would agree that Curly and Laurey needed a bit more chemistry.
I thought Liza Sadovy's Aunt Eller was excellent - the layers! She was so controlling and domineering underneath the maternal exterior. Fabulous performance.
|
|
|
Post by cartoonman on Apr 19, 2023 18:53:44 GMT
Just back from Oklahoma! a good show but it does look a cheap production compared to Trevor Nunn's NT show. The programme says it started off as a college production and it still looks a bit like one. If you are a R & H fan the Royal Academy of Music are performing Carousel in July £20!
|
|