I also thought Darvill was very good - a better actor than Declan Bennett, though not as good a singer, but he performed all the songs so well it didn't matter. I miss the old ensemble though, they were so much more vibrant and so much more in sync - I realise it's not been long since cast change, but they had rehearsal time, and so I was quite disappointed overall, I expected better. Zrinka was fabulous as usual, she'll definitely be missed.
I was quite irritated by the number of Darvill fans at the stage door who clearly hadn't seen the show and completely ignored/pushed past the rest of the cast who were trying to get out for a break...
The link to Covent Garden was entertaining just because of how ridiculously young the current Valjean looks. And at least it served as a warning not to go back to Les Mis any time soon, at least until there's a cast change. The Wicked performance was slightly better but still so over-sung.
Two wrongs don't make a right, but I'm not about to go preaching morality. Certainly your level of rudeness was uncalled for in my opinion, when the poster who replied to you simply stated the fact that you're not entitled to anything. You're not the only one who's a fan of the show, you're not the only one who can't afford final week tickets. You've got every right to feel annoyed, but not to feel that you're entitled to a ticket just because you're a fan, which is what your post basically stated, or at least strongly implied.
The stupid board isn't letting me quote posts, but I completely empathise, ajblowing. I have friends who like theatre, but not to the extent I do, and I'm very much single and would love to find a date who likes theatre as much as I do! I go to the theatre alone more often than I go with someone, and while that's not a problem, it would be nicer to share it with someone - I do get a bit jealous of all the couples sometimes!
I don't trust the Mirror as far as I could throw it, so I'm taking this with a mountain of salt.
I like Sheridan Smith, and think she'd be a decent Eliza acting-wise, though I think she's a little old for the part. But she's not a great singer, she's just ok, and I highly doubt she'd be able to get anywhere near the last note of I Could Have Danced All Night. The role needs a strong singer.
As for David Walliams, I'm sorry to be blunt, but the less said, the better. I thought he was by far the weakest in the Grandage Midsummer Night's Dream, and can't think of many people who are less suited to playing Henry Higgins. He and Smith don't have much chemistry on-stage either.
I would rank it as the strongest score from the last decade, I'm struggling to think of anything that's anywhere near as memorable to me apart from Avenue Q, which I don't think is as good a score as Wicked, though clever in its own right.
Each to their own though, opinions differ widely - for example I've read so many raves about the Matilda score, but I thought that was entirely forgettable!
I never said that you were saying they had to be English, but you did say they had to speak with an 'English', accent and I disagreed. I still disagree, I don't think it matters in the slightest what accent they have as long as their diction is clear. It's not as if it's set in a particular country - it's set in an imaginary one, so there are no accent rules. I'd much rather have an Elphaba with a bit of an accent who can sing it out of the park than one who has perfect English but can't sing the score. And what does 'English' accent mean anyway? There are hundreds of different accents in England! If the performance is good, then people will concentrate on that rather than any accent anyway, so I don't think at all that there's any reason to say they have to speak in an 'English' accent, regardless of the fact that that's a misnomer in itself.
wickedlover, on 19 November 2013 - 12:34 PM, said:
Well it can't really be any accent, imagine what it would have been like if Rachel Tucker just kept her Northern Ireland accent.
She did in parts! There were always little bits, especially when Elphaba is angry, that Rachel really sounded Northern Irish to me. Whether it's just because I'm from NI as well so notice it more, I don't know. I disagree entirely that they 'have' to sound English though - that means saying every single person ever to have played Elphaba on Broadway has done it wrong, which is plainly ridiculous. The accent doesn't matter as long as what the actress is saying can be made out easily.
well isn't emma hatton the alternate? i heard will is only doing 7 shows a week?
No offence, but it seems your announcement about Louise being Ellen in Miss Saigon was completely wrong, so citing a source for your information would be very helpful... Seems very strange that they would introduce an alternate (essentially) to London now for an Elphaba who's proven her ability to do 8 shows a week, when actually they needed one several years ago...
Please excuse this ignoramus but ...
I heard the 2 of the cast on Radio London last Saturday morning and they did one of the songs and it was pretty funny. I know nothing about the show except that whispers are coming back that it is amazingly good. A word of mouth hit.
Now I organise group outings amongst work colleagues and over the years (20 years) we have seen just about everything. But I know my audience and we like to leave the theatre laughing and humming a good tune. So would you recommend this. Will they be patting me on my back saying 'Good choice matey' . BTW if it is anything like Sondheim NO we don't like him. Too wordy and clever and no tunes - we are simple people.
No, you won't leave laughing (though you may well be leaving humming a tune - plenty of the audience on Friday were!), but theatre is about more than that - and certainly if you've seen just about everything then no doubt you'll have seen plenty that does more than make you laugh before. It will make you laugh though, there's a lot of humour in it, but it's not a cheesy love story, and it doesn't insult the audience's intelligence. You are more likely to leave crying than laughing, and for good reason - the last scene is heart-wrenching. Having said that, it's not Sondheim, so it's neither hard to follow nor lyrically over-complex. What it is is beautiful simplicity with a lot of heart, raw emotion and songs that, in my opinion (contrary to the poster above), will be in your head for a long time, especially the hauntingly beautiful Falling Slowly and Gold. I've seen it twice and I'd recommend it more highly than anything else currently playing in the West End. It's not a jukebox musical, but it's not poorer because of that, and after just a single viewing it became one of my favourite shows.
Why employ people that haven't had training is it a case of not what you know but who you know? It devalues the profession & stops trained performers getting their break imho
I'm sorry, but that's ridiculous. Not everyone who's good has had training - not everyone can afford it (I know that doesn't apply in this case, but the principle's the same and you made a complete sweeping statement).
And equally not everyone who's had training is good (sometimes it's who you know that gets you into a school too...).
People can get their big break in lots of different ways, but it doesn't make them any less deserving of it. I think you should be judging on talent, not the name of the school on someone's CV!
Some of the best people in the arts have never been trained - Katharine Hepburn only did am-dram in college, current Best Actress Oscar winner Jennifer Lawrence has never had any training... and the same undoubtedly goes for plenty of theatre talent too.
Personally I'd rather see a talented person who's right for a particular role - I don't give a damn where they did or didn't train! Trained performers are no more entitled than anyone else.