2,452 posts
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Post by theatremadness on Sept 5, 2019 17:37:04 GMT
It is a gorgeous song but sometimes I feel Stiles & Drewe just write the same song over and over again. Night Bus could very easily be Wishing For The Normal!
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Post by lamusical on Sept 11, 2019 8:31:26 GMT
Really like the “Night Bus” song & love the concept of the show. Eager to hear more.
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4,804 posts
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Post by Mark on Sept 11, 2019 8:51:11 GMT
Really like the “Night Bus” song & love the concept of the show. Eager to hear more. http://instagram.com/p/B2MSLlxn5PQ Another little snippet from the curtain call (complete with full Nancy dress). |
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4,804 posts
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Post by Mark on Sept 14, 2019 7:04:55 GMT
First look!
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Post by happytobehere on Sept 14, 2019 17:10:01 GMT
Really like everything i’ve heard and seen about this show so far, wish I could see it!
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4,804 posts
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Post by Mark on Sept 15, 2019 22:14:36 GMT
Top top top notch all around. If you’ve read the book, you will just love how the characters come to life in this. Everything comes together and works so well as a true “book musical”. It’s VERY British, It almost has that feeling of Billy Elliot to it.
There’s no song titles listed so I’ll do my best to describe some, but there were some real standout moments
There’s a lot of musical numbers. Great opening “East Dulwich”, and the big “I want” title number follows not long after.
“Night Bus” I really loved
“Abigail Henson” - great number!
“Putting a twist in Oliver” is a blitz through act one of the “show within a show” - very well done.
“You matter” - Stephen Ashfield made me cry, very touching and it’s reprised at the end of the show.
Sally Ann Triplett I really loved, and Stephen Ashfield and Lizzie Bea. Zachary Sayle was also a great leading man, exactly how I imagined David Starr.
There was already people at the stage door who’d been 2-3+ times, I feel this one could really take off if they market it right.
Also, what a gorgeous venue the Alliance Theatre is!
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4,179 posts
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Post by HereForTheatre on Sept 17, 2019 8:09:48 GMT
It's a shame this couldn't have started out here, this seems so very British, in a way that even Kinky Boots wasn't despite that also being set here. It's a bit strange to see a British story, with British composers. a British writer and many British actors in it start out over in America. What does it say about the state of theatre here when we can't even have our own shows and stories start life here?
I love everything i have seen and heard about this so far and it feels like something we need over here at the moment. I'm hoping it's not long before we see it.
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4,804 posts
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Post by Mark on Sept 17, 2019 9:05:43 GMT
this seems so very British, in a way that even Kinky Boots wasn't despite that also being set here. Yes, a much more British feel than Kinky Boots. If you look for pictures of the pre-set its a very British school hall set-up. Maybe its due to a built in audience with the Alliance Theatre being a subscriber house. We don't really have the equivalent over here. |
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185 posts
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Post by MoreLife on Sept 18, 2019 16:05:29 GMT
Having read the book and having just seen the first production photos, I have also asked myself why something so inherently British - in terms of setting, cultural references, language, not to mention the composers and part of the cast - is seeing the light across the pond.
Here are a couple of possible answers I've come up with:
First of all, it may be that (in general) there is an expectation that a production that's been tested by US standards and audiences could stand a better chance at a longer life (and more incarnations). It was quite clear to me when I saw 'The Prom' on Broadway that there is always going to be an audience for a show that's about inclusivity and the importance of being your true self, that has a positive LGBTQI+ angle and a feel-good vibe, that comes with hummable tunes and a lot of energy... Sure, producers may at some point need to pull the plug on it, but it's a kind of show that's always going to be received warmly by the (US) theatre(going) community.
Secondly, it seems to me that right now 'Becoming Nancy' would have a bit of a potentially counterproductive overlap with 'Everybody's talking about Jamie'. Both have an exquisitely British angle on a queer coming of age story with a similar working class setting. Both plots focus on a teenage male lead who has to deal with school bullies, has a best girl friend who supports him unconditionally... I mean, both follow the lead as he prepares to appear on stage in front of an audience wearing a dress! Personally, I'd be absolutely happy for these shows to be on in neighbouring theatres on Shaftesbury Av., but I can see why a producer would want to first test 'Becoming Nancy' in a more "neutral" context where there's no direct "competition".
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1,210 posts
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Post by musicalmarge on Sept 19, 2019 2:35:38 GMT
Having read the book and having just seen the first production photos, I have also asked myself why something so inherently British - in terms of setting, cultural references, language, not to mention the composers and part of the cast - is seeing the light across the pond. Here are a couple of possible answers I've come up with: First of all, it may be that (in general) there is an expectation that a production that's been tested by US standards and audiences could stand a better chance at a longer life (and more incarnations). It was quite clear to me when I saw 'The Prom' on Broadway that there is always going to be an audience for a show that's about inclusivity and the importance of being your true self, that has a positive LGBTQI+ angle and a feel-good vibe, that comes with hummable tunes and a lot of energy... Sure, producers may at some point need to pull the plug on it, but it's a kind of show that's always going to be received warmly by the (US) theatre(going) community. Secondly, it seems to me that right now 'Becoming Nancy' would have a bit of a potentially counterproductive overlap with 'Everybody's talking about Jamie'. Both have an exquisitely British angle on a queer coming of age story with a similar working class setting. Both plots focus on a teenage male lead who has to deal with school bullies, has a best girl friend who supports him unconditionally... I mean, both follow the lead as he prepares to appear on stage in front of an audience wearing a dress! Personally, I'd be absolutely happy for these shows to be on in neighbouring theatres on Shaftesbury Av., but I can see why a producer would want to first test 'Becoming Nancy' in a more "neutral" context where there's no direct "competition". American market has more money. Simple! |
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438 posts
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Post by Rukaya on Sept 19, 2019 13:31:39 GMT
It's all about who's involved, who's knocking on doors and who's got the cash.  There's a bit in the Alliance program about it:  |
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4,804 posts
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Post by Mark on Oct 6, 2019 21:14:32 GMT
Saw the closing performance in Atlanta today - a sell out and great audience reaction. This is such a great story and a great score/book. Can’t wait to see what happens with it next.
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