Thanks for sharing the photos Mr N. I purchased the OBC a couple of years ago and so welcome the opportunity to see the visuals in more detail.
Regarding framing devices, it would have been impossible to see the complete transformation of a valley from agriculture to industry in one lifetime (and then the redundancy of that industry, as I believe happens in the series of novels) so that sits uncomfortably with me even though I enjoy the score and there is much that is authentically Wel
I saw this a couple of weeks ago and was underwhelmed by both Sheridan's performance and, more importantly, the musical itself. No one in the UK has a clue who Fanny Brice is so this musical has to stand in its own right. It makes a claim in its title to be funny and it bolsters that claim by casting one of the UK's most prodigious comic actresses. But it is not funny; it is mildly amusing at best. The Jule Styne score may be great (and the scenery-change songs that don
Someone in a Tree2 said: "Why oh why has no-one ever turned this into a musical?"
Search out 1975 flop Thomas and the King with a great pre-Hollywood John Williams score; some stunning sets and costumes - if you can find any photos; some fine performances - listen to Dilys Hamlett deliver Power on the OLC; some naff lyrics (although I do like the rhyme for Plantagenet); its own closing Follies-esque nightmare sequence; a
Initially I thought it must have been an (early) Maria Friedman recording but you can briefly see the actual vocalist in the wedding scene.
Pink bathrobe because some wedding guests got into a fight beforehand, fell into the lake and he dived in to rescue one of them despite having only learnt to swim this year - hey, it's a soap. There's also mud on the hem of Linda's wedding dress.
The episode seems to rely on the broader interpretatio
I saw the Robert Lindsay & Joanna Lumley headed West End revival of The Lion in Winter a couple of years ago. With the gargantuan figures of Henry II, Eleanor of Aquitaine and Richard the Lionheart on stage, any one of whose lives could make a thrilling evening in the theatre, and a script written by James Goldman close to his Follies peak, I couldn't understand what made it such a dull evening.
I decided it must have been director Trevor Nunn's f
Well, it got me in the end just as it always does. I'm old enough to remember my relatives who saw active service in WWII (one of whom was a prisoner in Stalagluft III) and how Nazism was a very real threat to them. This show will never be saccharine to free Europeans and to suggest otherwise is to trivialise both show and history.
It was good in the end, as Princeton points out, to see an alternative construct to the film and the emphasis this version places on the gro
The attention to detail in the sets is superb - as evidenced by the way the stonework in the garden has been aged and the moss on the walls. The lighting is also very good, seeming very natural in the outdoor scenes. I thought this production's biggest handicap would be not being filmed on location but I'm not missing that anywhere near as much as I expected.