Jump to content


bickypeg

Member Since 04 Sep 2011
Offline Last Active Today, 03:30 PM
-----

#301774 Miss Saigon Revival Is Happening

Posted sam22 on Today, 02:24 PM

Seats seems so expensive for this, most of the upper circle are £47!!!


#301340 Les Mis Cast Change 2014

Posted MrBarnaby on 20 April 2014 - 08:41 AM

Who is this person ? What has she done except take over as the 365th Eponine in this dusty old show?

Sounds like her agent needs to give her social media training.


#300255 Bedknobs And Broomsticks - Ideal For The Stage?

Posted Titan on 12 April 2014 - 03:06 PM

I recently re watched this and it struck me how well this could transfer to the stage.  The score is strong, with some additional songs to flesh it out (like in mary poppins)

The animation segments would obviously not be animated but you could go more theatrical and use bright colours to differentiate between the two worlds as ww2 england is more muted in tones

Time would have to be spent working on the magic, especially on the final battle.  Also the flying for when she is on her broom. The bed could be done like chitty or the glass elevator and maybe projections too like the tornado in wizard of oz

If they could make it happen, the final battle could see miss price flying over the audience as the armour walks through the auditorium towards the nazis on stage

Plus theres moments like Portobello Road that would give an old fashioned show stopping dance number

It would be expensive but I think it could be quite a spectacular show


#300212 X Factor The Musical To The Palladium

Posted MrBarnaby on 12 April 2014 - 09:29 AM

That is all very well but I bet hardly anyone is paying full price. It's just not good enough considering the cost of the theatre and the huge production. I've had endless emails this week with ticket deals.


#299514 Musical Theatre Rep Company In West End?

Posted KevinUK on 06 April 2014 - 04:44 PM

I'd really welcome the idea, or something similar. In an ideal world someone would strike a deal with Sondheim to do all his shows across a 2 year period, using the same company.


#298777 The Bodyguard

Posted djp on 30 March 2014 - 03:33 PM

View Postseanmcdona, on 30 March 2014 - 12:14 PM, said:

As long as it's stated which performances the performing won't be in then I think it's fine for them to do less than 8 shows a week. It just means that they'll be on top form for the performances their in and not struggling and it means someone else can come in and do a few shows that probably needs the experience and time in the spotlight!

Christine in Phantom does have  an alternate for obvious very good reasons. Wicked might do better to have an alternate on once or twice a week. As you say if they announce who does what shows, you can go for the lead or  avoid them as you like - if there's a mix of showtimes to chosse from. . The point with the bodyguard is that its cutting that choice out for many - by  reportedly avoiding its lead singing  two shows in one day - which means its impossible to see any matinee with the lead in it. Thats much rarer. Haven't tried Phantom this year , as the London  cast doesn't appeal that much, but past Christines tended  to at least do the Saturday matinee when its one of the most in demand shows of the week. They took a long weekend , and/or had a rest day (s) in the week , so that they didn't sing too many shows in a row. No matinees at all just means someone else gets my money. Is there anything in the Bodyguard that requires more rest than singing the enormity of Christine in Phantom, Scaramouche or Elphaba?


#298785 X Factor The Musical To The Palladium

Posted Mrs Lovett's Meat Pie on 30 March 2014 - 04:21 PM

I think the first act could b transposed to another country with 15% rewrites but the second act would need 70% changed as it's all about the judges and very specifically about Simon, Cheryl and Louis.

Id say it's worth getting the 20 front row seat and maybe have a glass or 2 or vino b4 (but not at the theatre - 9 a glass) and just go with the flow in its silliness.


#298659 Stephen Ward - The Musical

Posted Parsley on 29 March 2014 - 07:35 PM

I also like ALW

Evita
Phantom
Sunset Boulevard

Are all favourites

But I think he has had his day

His recent output feels hopelessly dated and desperate

And I don't think it's the subject matter

Take a musical like Caroline or Change
Or
Scottsboro Boys

Those are hardly thrilling at face value

Yet the shows are way more than the sum of their respective parts

I have nothing against ALW

The premature closure of his last 2 shows in London

And his last 2 on Broadway

Let's recall Woman in white managed 3 months there

Along with the failure of LND to transfer

Is evidence enough

I don't need to criticise him

The general theatre going population at large does that for him
En masse

It's quite a shame given how lowly a level he has plummeted to that he has become synonymous with cheap reality TV instead of a decent musical of late

And to note
I have never seen WWRY
And left mamma mia at the interval


#298656 Stephen Ward - The Musical

Posted ptwest on 29 March 2014 - 07:30 PM

I could suggest that trying to disprove one persons opinion and prejudices simply by writing a long post full of your own opinions and prejudices  isn't the best way to construct an argument. I have enjoyed ALW shows AND jukebox shows like Mamma Mia. Not sure if that makes me intelligent or not.


#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.


#298690 X Factor The Musical To The Palladium

Posted Mrs Lovett's Meat Pie on 29 March 2014 - 11:02 PM

I think it's our DUTY to be negative on this to counteract the insanity of the rave reviews


#298646 Stephen Ward - The Musical

Posted mallardo on 29 March 2014 - 05:24 PM

View PostSF88, on 29 March 2014 - 04:22 PM, said:

I liked all four of those to varying degrees too. All of them had a great deal to recommend about them but were ultimately hamstrung by... well, that is the million dollar question!

Indeed, that is the question.  No one (I hope) questions ALW's ability to write a fine score, the problems lie with the subject matter he chooses.  Even doing a sequel to Phantom turned out to be a bad idea because the story line they concocted was bad.  So ALW's fatal flaw is his taste!


#298620 X Factor The Musical To The Palladium

Posted MrBarnaby on 29 March 2014 - 03:40 PM

Erm.... Calm down! It's only a Showbiz forum.


#298596 X Factor The Musical To The Palladium

Posted MrBarnaby on 29 March 2014 - 01:18 PM

Raoul your words have really upset me....


... Oh wait, I couldn't care less!

And for your information, I am the first to praise a show I like... Matilda.. Charlie... Urinetown... And like EVERYONE else who didn't like this show, I'm happy to say why... And of course I believe my opinion is right.

And as important as I think I am, my little opinion on this board won't 'kill the show'... The show itself is doing that nicely!


#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. :(