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wickedgrin

Member Since 12 Feb 2007
Offline Last Active Today, 11:21 AM
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#301114 Dirty Rotten Scoundrels

Posted Viserys on Yesterday, 08:57 AM

I fully agree with that - I used to sometimes buy cheap seats at the back or high up to save money, but ended up feeling completely disconnected - so in the end, just wasted that money.  Now I rather pay more, take advantage of "restricted view" seats close to the stage or queue for Day Seats in the front row to be up close to the action - or just don't go at all.

I think it has to do with feeling immersed, feeling close to the cast, with only a few rows of heads between me and the stage (or none at all) and not looking across a sea of heads towards a small stage and tiny actors in the distance, where it's often not possible to even see their facial expressions properly. That's also why I love smaller fringe theatres and abhor huge barns like the Palladium.


#301084 Dirty Rotten Scoundrels

Posted MrBarnaby on 17 April 2014 - 11:51 PM

His remark to Shenton was just plain rude. And terribly revealing.


#300578 The Oliviers - The Results

Posted Alf on 13 April 2014 - 11:11 PM

Okay, if I were in charge of these awards I'd do the following:
  • Ditch the Audience Award, it is cheapening and unnecessary.
  • Get rid of the Piazza portion of the show - it does not add anything to the show and the performances and the sound quality are always far inferior to those inside the theatre itself.
  • Also scrap the z list presenters. It was great to see Kathleen Turner presenting an award, not so for Gok Wan. Angela Lansbury is in town, surely she could have handed out an award?
  • The NT50 show proved short excerpts of plays could be performed and showcased, and that may not be possible here but I know many shows are filmed for prosperity so it would be nice to see even short clips so people who haven't seen the shows know what are being honoured.
  • Establish what awards mean, the "Outstanding Achievement in Music Award" was bizarre in its ambiguity. Take a leaf out of the Tony Awards book, who have awards for Book, Orchestrations and Score.
  • Stop with the ruddy stereotyping, more than "women and gay men" are watching.
Anyway, the highlights were better than last year. Always a pleasure to see Bernadette Peters perform (we need a production of Follies soon please), great set, Mangan and Arterton enjoyable (perhaps slightly under-rehearsed), well edited (although how on earth Best Play, one of the main awards was pushed into the "Also handed tonight.." section I've no clue. Very pleased for the love for Ghosts and Chimerica.


#300020 X Factor The Musical To The Palladium

Posted rearstallsloiterer on 10 April 2014 - 02:03 PM

out of interest how much did you pay eastender, Icansing? i doubt full price! there's a whole world of difference in paying nothing or £20 for a show and having an opinion, as opposed to the person who has just parted with £70. Row A of the dress is full price but did you pay that?

I know people who have seen this on a comp and enjoyed it, but when you point out that actually they should have paid £70 for that seat they recoil in horror!

Perhaps critics should be asked to pay full price for their seat out of their own pocket?


#299817 The Scottsboro Boys

Posted theatregoss on 09 April 2014 - 03:31 AM

It's going to Garrick for a short run. I don't understand why it bothers so many people on here if it's a hit or not! I'm personally looking forward to it because I couldn't get a ticket at young vic.


#299830 Evita Westend 2014

Posted SF88 on 09 April 2014 - 08:13 AM

I love "Evita" but that last Elena Roger production just proved to me you can have too much of a good thing - it'll be years before I want to see it again.


#299393 X Factor The Musical To The Palladium

Posted woobl on 05 April 2014 - 12:40 PM

The Palladium was never intended to be a musical house - it was always variety and one nighters - to try and sell a 2200-300 seat house out every night is very ambitious, even for a hit, so even harder for a new show to do. For one nighters and special events (Garland etc) it's far easier. With the rent being about 50k a week, you need a lot of bums on seats to make that work. That said, ICS has a fairly low break even which isn't too bad.


#299265 X Factor The Musical To The Palladium

Posted Titan on 04 April 2014 - 05:57 AM

But the problem with X factor is people see it as a piece of Saturday night entertainment,  its a way to pass a few hours, throwaway entertainment.  They dont invest in it, this is why the vast majority of contestants dont do well, once the talent show is over people lose interest very quickly.

And the tv show has become so much of a parady of iteself im not sure people need to fork out hundreds to see another parody

Also let's not forget this show has already had a large amount of exposure in the press plus the royal variety and the tv awards, both things its target audience could have watched. Whilsts promotion on BGT may help I think its already being proven that the general audience interest isnt there.


#299257 Urinetown

Posted KevinUK on 03 April 2014 - 11:26 PM

Saw this tonight and absolutely loved it. Just wonderful. But I can't see it working in a larger, west end theatre. It might deserve a limited one month run, but it wouldn't sell for much longer IMO.

The cast is just perfect - everyone is perfectly cast. I wish Jenna had more to do, but was just wonderful (I agree about Mrs Lovett, and can absolutely see her in Company too). Richard was brilliant - I wonder how long it'll be until he pops over to LA and gives it a go?


#299160 X Factor The Musical To The Palladium

Posted Titan on 03 April 2014 - 07:52 AM

Yeah no new musical, regardless of theatre really, should be closing off so many seats on opening.

However, the people involved do have the money to keep it going to save face if they wish.  I suspect they will hold out until Britains Got Talent to see if they can advertise during that to get people in.


#299087 Kinky Boots/newsies News?

Posted SF88 on 02 April 2014 - 07:04 PM

I'm amazed "Once" has clung on as long as it has to be honest, so staying put until the end of the year would be very impressive.

I'm doubtful about the commercial viability of "Newsies", irrespective of its quality. It's going to cost a packet to stage and run and I think will be a very hard sell in London.


#298728 X Factor The Musical To The Palladium

Posted MrBarnaby on 30 March 2014 - 09:10 AM

"This is infantile, witless, noisy, embarrassing, derivative, shamelessly money-grubbing tripe, like some horrible offspring of tele-virtual incest.."

For those obsessed with star ratings... It's a one star review.


#298488 The Weir

Posted JonnyBoy on 28 March 2014 - 07:53 PM

This was an unusual play. The set is fantastic and atmospheric, the acting is impeccable. Most of the time, it's interesting to watch. It becomes compelling when Dervla Kirwan narrates her tale. However, I am left scratching my head at all the five-star reviews and the claims that it is a modern masterpiece. Sure, it's a masterclass in acting, but the play itself doesn't seem to be anything more than slight. Yes, I get that the lady's story is much more harrowing than the men's spooky, perhaps alcohol-provoked tales, but I got the impression that the play was much deeper and more disturbing than I found it.


#298580 Stephen Ward - The Musical

Posted steveatplays on 29 March 2014 - 10:39 AM

The title was a disaster. It sounded so boring, like a newsnight documentary giving a balanced and dispassionate view of a historical figure. It doesn't help that "ward" rhymes with "bored."

And this title triggered the worst sort of coverage in the papers, namely serious news coverage about clearing the name of somebody nobody cares about.

For example, if this musical were called "Orgy," and the makers said they were referring to "a political orgy of corruption," as well as the literal orgy you see in the musical, coverage would have been more salacious and critical, and might have generated "outrage" and interest, with the consequence audiences might have felt they were seeing something naughty and exciting.

But that would have been a lie, because the main problem of the production is that it comes from a newsnight mind, the mind of someone making a defensive argument about political history in a biased but reasonable manner.

This musical presented a man, who recruited teenage girls from their mums and moved them into his flat in that London with the purpose of presenting them to rich and powerful men, as an awfully nice fellow. It tries to paper over the obvious fact that Ward was a seedy creep.

Imagine if Sondheim hadn't made Sweeney Todd and Mrs Lovett quite so wicked, if he had omitted the word "demon" from the title, if he had tried to suggest that Sweeney and Lovett were merely the victims of society rather than their own vicious inner demons, how boring would that take have been? And isn't Ward a chamber of horrors character like Sweeney Todd after all, albeit relegated to Blackpool?

Where Lloyd Webber was completely right is that this seedy creep was no worse, and probably more intrinsically likeable and decent, than many of the society figures who welcomed him into their sphere to get at his sexy young offerings. And this is another problem: society is not demonised enough in this musical. Valjean needs his Javert, but we just don't get one in Stephen Ward: we don't get an embodiment of societal evil who we can hate and fear, who would drive the story and make us root for Ward. All we get is two silly policemen tacked on in an almost spurious scene in the second half. How uninvolving!

If only this musical had not had it's po-faced crusading agenda and it's dull title, I believe this could have been a hit. I recall with fondness the passion that Lloyd Webber brought to powerful numbers like "Human Sacrifice" and "Manipulation," the touching emptiness and neediness of Charlottle Spencer singing "He sees something in me," the lonely romantic delivery of Alexander Hanson singing "Too close to the Flame," and the number the wickedness of which I wish had more embodied the whole musical, "You've Never Had It So Good."

Stephen Ward, I mourn what you could have been. :(


#298559 The Bodyguard

Posted Mrs Lovett's Meat Pie on 29 March 2014 - 08:28 AM

Isn't that what we want from our divas though?
Better than

"Tescos doing 241 on beans! SCORE!"
"Home And Away is totes unbelievable tonight"
Or
"ANOTHER yeast infection!?!"