paplazaroo, Don't leave it too late though.
If you go to see it and get hooked/enjoy it you will probably want to go back to find out more.
Mainly because it's not possible to see everything in just one visit.
Oh god no. A Tenor in Geordie land is £10 cash, and Opera is that thing Julia Roberts cried at in Pretty Women. Coming from Billy Elliott land, I'll approach this knowing there'll be a bad accent or two, and the assumption Opera hadn't yet made it north of Middlesborough.
As always, Steve, you provide copious good reasons for your point of view. My take is that hammering home the message does not make the message more effective. You quoted a line in your earlier review... "In the end there's nothing you don't know." Exactly. There's no news here. It's the oldest story, or one of them. We get it. And we don't need to be elbowed in the ribs.
I think this production is simply too heavy handed. It's a comedy!! It's funny in and of itself and all the funnier when it's handled with a light touch. Why should Lockstock be a sneering villain? He's the Narrator. He's someone Little Sally - the voice of instinctive wisdom in the show - actually looks up to. The way Slinger plays him she wouldn't want to be within a mile of him. He should not be as mangy and decrepit as the downtrodden populace. His uniform should be crisp and clean, he should be friendly. He is all the more sinister when played that way.
As for the production in general, someone once said that comedy doesn't play in big sets. Wise words and true. Keep it simple. It's not 1984. It's Urinetown - the title tells you how to play it. When Lockstock lets Little Sally know that it's "not a happy musical" her response is "But the music is so happy." I wish Jamie Lloyd had taken those words to heart.
I saw this on Tuesday and feel much like Paplazaroo about it. Top notch production values (set, lighting, sound, costumes) and excellent cast but I didn't care for the show itself as much as I thought I would. The initial premise of the story is strong but I felt that the creators' urge to throw in as many references to other shows - often accompanied by Office Lockstock and Little Sally directly addressing the audience to let them know how clever the creators have been - detracted from it. I wonder if the revolve was installed with the sole reason of sending up Les Mis? I enjoy a dark musical like Sweeney. I enjoy revues which send up other shows like Forbidden Broadway. Urinetown is a curious mix of the two and I suppose I should have enjoyed it twice as much because of it. Probably me in a grumpy mood. Everyone else seemed to be lapping it up.
Well you think it is going to be a standard revolve looking at it, but the stage itself doesn't revolve. Instead in act 2, the 6 (or so) trucks that make up the main set are attached to an advanced automation system that allows each truck to move independently. I know that didn't make sense but if you see the show it makes sense:P