macnyc - I really think Brits and New Yorkers have WAY WAY more in common than New Yorkers and most of the rest of America. Brits will love it. But I would expect a significant proportion of the audience to be made up of vacationing Americans and US students studying in London for a while! As my friend said who just came over to see The Cursed Child - "it's cheaper to buy a plane fare and a ticket to the show in the West End than an Orchestra seat on Broadway". He was only half
Thanks for the post Steven. Can't say I'm not more than 'a little jealous' - especially as I had to return my Dec 26th tickets as I am in New Zealand for work as of yesterday, but hopefully I'll pop back to London mid 2018 and join the London Hamilton train. As someone who saw the OBC (Lin and Javier) I always knew London would adopt the show with open arms, but was less confident that you could create something that magic a second time around. Particularly with the differ
National Theatre's PEOPLE, PLACES & THINGS Dec 4
2017, 02:24:03 PM
Yes. Sorry to clarify I meant hopefully she'll be awarded a Tony for AiA making the ineligibility here (almost) irrelevant even though this was HER moment.
Best show of the year, hands down. Saw tonight's closing and I'll remember it forever. The monologue to the therapist in the beginning about the realization that we all turn to ashes and howdisappointingthat is was devastating. The final scene with the mother was just gut-wrenching. I can't wait to buy this play and re-live this wonderful evening.
Denise was pure emotions during the bows. Such a powerful night.
SNAFU said: "Oh and Disney. Use the original Muppet designers. Putting Elsa's eyes on Kermit's new love interest was an abomination! Jesus that thing was hideous!
"
SNAFU? As someone lucky enough to have worked for The Creature Shop in London twice and with dreams of moving to NY to work on The Fraggle Rock/Sesame Street movies you just became my new hero. I could absorb stories of the Jim Henson days of the company for hours and hours. And hours a
There's a whole section on the music in the programme (large special edition programme akin the the Follies/AiA editions) but I'm afraid I haven't had a chance to read it yet. I believe there is new music as well as new arrangements of all the movie songs (including reprises) and new interpretations of the movie underscore but I'm a Menken age Disney fan so really not too familiar with Pinnochio on film. But as I say I'll try and sit down to read that (and my Cur
With a 15 piece orchestra, underscoring from the movie and maybe 4/5 chorus moments/numbers it is most definitely a musical. Not a glitzy razzmataz fiesta like Aladdin (thank goodness) but at times Matilda-esque with some recognisable John Tiffany flourishes reminiscent of Let The Right One In (the gorgeous tree/forest scenes) and Cursed Child. It was beautifully written, fantastically dark (very European/Grimm Tales in it's execution) and with some fantastic scaling of puppetry thro
Just had a message from a friend who saw the show today and she, by all accounts LOVED it. "Absolutely Bloody Marvellous!" Her exact words. And she's what I would describe as a 'not easily impressed South African former stage manager' - not someone that would think Aladdin has any creative merit or that just because it's Aussie homegrown it should get a free pass.
What I'm trying to say is - I trust her judgement and I'm excited to go check it out myse
What a glorious review Up In One. I really hope you get to see the show live before the run concludes - to experience not just the scale but also the lingering looks and rounded performances that I can only imagine would escape a taped showing focusing on the action 'in the spotlight'. Not only was Josephine Barstow's "One More Kiss" a heartbreakingly beautiful theatrical coup but her longing, haunting gaze and performance every second she was
Just back from waching the taping live from the Olivier tonight and the atmosphere in the audience was absolutely electric. I really hope the screening manages to capture adequately just how magnificent the performances were (some significantly better even than press night) - though I'm afraid you may miss some of the fantastic "off beat" expressions and subtleties during the dialogue transitions in the first half of the show - even with the best screen direction in the world. I
ColorTheHours048 said: "Lee Pace is an incredible piece of casting. His performance in Normal Heart was really moving and I’m sure he’ll find a lot of depth in Joe that I thought was evident in Marianne Elliott’s direction but not necessarily in Russell Tovey’s portrayal."
Couldn't agree more. Russell Tovey has done very well out of his 2 expressions but I think he was overstretched and overshadowed by the play and the rest of the cast her
Gizmo I can agree with you on 2 things:- Ruthie Henshall's Fantine at the Palace was pretty flawless, and Sally Dexter is also my favourite Nancy. But your condescending posts and superiority complex because you've written papers on theatre and seem to have mastered youTube and a google search makes for a very unsympathetic argument. Similarly your passive aggression when labelling other members as bitchy in a thread you created, to all intents and purposes just to slag off
She was great in the Jason Robert Brown directed "The Last Five Years" at the St James' Theatre last year. Probably the only Cathy I've ever felt who truely managed to engage you with the characters' innocent optomism. Most times the actess playing the role never manages to make the audience move past the "desperate/insecue" numbers that she unfortuanely has to set the character up with but Barks did - in spades.
evic said: "Don't even think of Bebe in a revival. She had a huge falling out with Hal Prince in London when she did the role. Something about throwing her shoes that she didn't like. Not that he would direct it again and she can't dance any longer. Chita could!!!"
Wow that would explain why Hal Prince completely changed the subject when I asked if there was any archive of Bebe's performance in London when I saw him at a JRB SubCulture gig - thou
Not only will it not be going to Broadway but I hear a West End transfer is out of the question for the same reasons - schedules and economics. It's unfortunate that it's going into rep at the NT and is only playing a small number of shows as it is. This is truely one of the occasions we can be grateful for still having subsidised theatre in this country - a lavish design, fully staged with a stellar cast and musicans in a limited run for half the price of a Broadway ticket. <
ljay889 said: "I agree, it almost sounds too good to be true!
Now I just hope they kept her "I should've died the first time, I should've been dead all these years" line in the finale. No other major production has had the guts to use that since the original."
I could be wrong but I remember these being in Paul Kerryson's production at The Leicester Haymarket with the late (and very much missed) Mary Millar. Her Sally w
What a beautiful thread with well considered, intelligent posts.
Can we have more of these please than the streams of: over opinionated bitching, repetitive stage door actor worship/crucifying and endless speculations of closing notices that we've grown accustomed to?!
