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Member Since 13 Jun 2011
Offline Last Active Dec 27 2013 03:07 PM

Posts I've Made

In Topic: Stephen Ward - The Musical

22 December 2013 - 10:15 AM

View Postfreckles, on 21 December 2013 - 11:58 AM, said:

In the waxworks scene at the start, who is the woman on the right?

Myra Hindley, one of the Moors Murderers.

In Topic: Stephen Ward - The Musical

17 December 2013 - 08:40 AM

View PostMorten Aagaard, on 16 December 2013 - 09:28 PM, said:

Is it true that there is nudity in some scenes? And for how long?

Yes.  Christine is naked a couple of times in the show although she dresses herself with her back to the audience so there is no full frontal nudity.  One of the male characters also takes his clothes off entirely but covers himself with his hands.

There is an extended sequence at an upper class orgy but it is staged with its tongue firmly in its cheek (it's not particularly funny but it is most definitely not serious), the vast majority of which has the characters in underwear only.

In Topic: Charlie And The Chocolate Factory - The Spoiler Thread

14 December 2013 - 04:15 PM

View Postdanieldabell, on 14 December 2013 - 02:39 PM, said:

I find this comment about Pure Imagination being the only memorable song very tedious, thoughtless and pointless! If I wrote an album of new songs to play you & stuck in a classic that's been around for years, of course you'd remember the classic above new material BECAUSE YOU KNOW IT ALREADY!

I wasn't on these boards in 2004 when Mary Poppins opened, but certainly I'd rank Practically Perfect and Anything Can Happen up there with the best Sherman Brothers numbers in that show.  Most people prefer the new songs in Thoroughly Modern Millie to the old ones from the movie.  Most of the big hit songs from Grease aren't actually in the stage show.  Etc., etc...

Pure Imagination is the only memorable song because the other songs aren't memorable, not because we know it before going in.  If the other songs were good enough to be remembered in their own right there would be more of us saying so!

In Topic: 'The Musicals' - New Channel 4 Documentary

20 November 2013 - 03:28 PM

View PostBurlyBeaR, on 20 November 2013 - 08:08 AM, said:

The whole thing about Craig Revel Horwood signing up to direct, negotiating his name to be above the title then dropping the idea via a "sorry daaaaaahling" e-mail days later seemed highly unlikely. Does no-one sign a contract in Showbiz?

Maybe in TV/film, but in theatre often the contract either comes while the show's running or never at all.  You work on good faith from both parties, particularly if you're powerful, until someone gets around to finally drafting the contract.

View Postfreckles, on 20 November 2013 - 09:59 AM, said:

As for Cameron, I actually found his involvement fascinating. It showed a great sense of pride & attention to detail in the production, which I think is a good thing. However, sweeping in at the last minute (having graciously "cleared his diary") and making such dramatic changes seemed rude and disrespectful to the director, I'm all for Cameron's involvement & I think he knows what he's talking about but he could have handled that better. Lucky to have a patient director.

As if Cameron hadn't had his diary cleared for months to be around during the cast on stage/previews period!  He's the producer, after all - he (and his office) are the ones that plan the schedule.  He really needs to go "the whole Hal Prince" - be producer and director.  He'd get what he wants then.

As for Tim Sheader, even if he didn't do the greatest job in the world, what can you do in the face of a multimillionaire toddler who can fire you any time he likes if you don't say yes, who has you directing a show that is by all accounts pretty poor on the page, let alone on the stage?

In Topic: Betty Blue Eyes 2014

11 November 2013 - 09:58 PM

View PostMonteverdi, on 11 November 2013 - 05:00 PM, said:

sorry - can't undo this underline! what do you make of the narrative element that Betty was not made into a feast - which was somewhat important in the original. Did they opt out for the sake of musical comedy?

Of course they did.  If the show had ended as the film did - with Betty eaten and Joyce having an affair with Swaby - it would have been an enormous downer on what is mostly a very silly evening in the theatre.  The whole thing is cartoon-ified from A Private Function, with Wormold being turned into a pantomime Nazi etc.

I don't think that's necessarily a bad thing, incidentally - the film is a curio, really, and nothing more, and the broader take on the material is enjoyable.  I think more needed to be done to make the end work, though - Gilbert's bizarre coupon rationing deus ex machina, for instance, is hardly a reason for Joyce to suddenly forgive him, although the (wonderful) Lionheart sequence at least explains why they got married in the first place which the film never adequately deals with.