WWRY worked in spite of Ben Elton's book not because of it, and the mistake I was referring to was indeed Elton doing another sequel after LND, as well as hiring him. I get that it needs to be theme park dumb in order to appeal to a large cross section but I think a more modern writer could do it with more sophistication.
hmm tempting to join, I was just worried that this may be such a hot ticket that everyone intending to book will buy an orange membership thus rendering the red members with their 'advanced priority booking' all powerful. It's possible I'm over dramatising the battle for tickets. Maybe I'll take the risk on an orange membership and buy an extra ticket to flog online to cover my membership card. Although the downside of the orange membership is I won't get into the red room members club and shall have to stand outside like an irish person on the Titanic.
I've seen it, I thought it was alright, the second half much better than the first. Robert Lindsay seems like he's making it up half the time but gets away with it although I think I'd have enjoyed it more with 2 leads who are great singers, Lindsay just puts his hat in front of his eyes and croons whenever he has a note that he's supposed to belt. It is a fun night out though and serves that purpose. Katherine Kingsley is the stand out for me. Was there last night too, definitely should get to work on those WOS badges!
I wish people would drop this idea of something being entertainment and not a 'proper musical'. Musicals come in all varieties and as an art form shouldn't take itself too seriously. This show has a plot, however flimsy, great production numbers, a dazzling set and a talented cast. It's definitely a musical.
About northern army regiment in WW! doing opera and theatre in the trenches.
I imagine Lee Hall's creative process for this idea as he walked home from Privates on Parade thinking about the WW1 centenery was a bit like this - "I'm gonna write a play about a bunch of geordies doing something arty, which is unusual right, cos geordies in the past only did mining and homophobia right, ballet!, no I've done that, painting!, no I've done that, theatre and opera! yes!"
Adam Long plays Satan as a musical theatre lover who left hell in the 60's and took human form because he was so excited about what was happening in the world of musical theatre. He formed a friendship with his now manager, played by Mark Caven, and has been in musicals ever since. He is now wanting to perform a one off night singing Sondheim at the palladium called 'Satan Sings Mostly Sondheim' but Sondheim won't grant him the rights, because he doesn't want to be associated with Satan. So the play is part Satans life story in flashbacks but mostly Satan and his manager trying to convince Sondheim to give them them the rights to his music. The show uses pastiche of Sondheim by very cleverly flipping the songs and singing slightly different notes and very different but recognisably Sondheim-esque lyrics, 'security guard plunsky' instead of 'officer krupskee' for example. At times very funny in its pardody of Sondheim it never loses the earnest love of the composer and some of it's more serious moments about why Satan loves Sondheim quite so much will strike a chord with musical theatre lovers. If you want to overthink it Satan being discrimated against could be an allegory for being gay, as there is a touching moment where he recounts A Chorus Line and the gay character from that but overall it's a nicely clever bit of fun. Adam Long isn't the best singer but it doesn't matter all that much. Hope that helps Freckles