Saw it last night. The whole thing kind of felt like one of those cheesy 80s movies that you used to watch on Channel 11 on a rainy Saturday afternoon. It gets by on a few genuine laughs and some very good performances, but ultimately forgettable. Did I like it? No. Did I hate it? No. The songs mostly terrible? Oh god yes. But somehow, I had a good time.
tomwsjr said: "I’ve seen this production twice over the past year, each time with different leads, both excellent - favorite Hugh & Carolee. I’d see it again, but the new leads don’t excite me at all."
My boss went to see the current cast yesterday and while they loved Mrs. Lovett, they didn't care for their Sweeney at all.
Great cast, a couple of good songs, and the opera scene. That's really about all it has going for it. (And could I hum a single tune 24 hours after seeing it? NOPE.) It's really a shame. All I could think was how did Jerry Mitchell somehow step onto every landmine he avoided with adapting Kinky Boots?
Literally just watched Michelle Williams in I Feel Pretty tonight and she was channeling Gwen in that movie, so that might as well have just been her audition reel.
There's like 57 Hamilton companies right now so I'm sure they'll find a cast to perform. Knowing the KCH they'll probably reunite the original cast to goose those ratings.
Very sad to hear of him losing his gig. I'm sure they're suffering as a result of their paywall, honestly I know I never look at their site anymore because of it. But I still want critics, their opinions need to rise above the noise, whether we agree with them or not.
oncemorewithfeeling2, thank you for putting the quote into context by including the preceding paragraph. The reader should clearly see she is using Umphress as a segue to critique the costumes when read as a whole. This is a far cry from Ruby Lewis' "wide of face, short of neck" Wall Street Journal critique when Paramour opened.
Seeing this tomorrow and I kind of like that the buzz is all over the place, helps me go in with less of a bias either way. One thing I do like is that it's coming in close to 2 hours including the intermission.
Patti LuPone FANatic said: "Dallas Fan, I am curious if you have any idea how the West End Chicago is doing business-wise. If they're doing well enough, then a theatre transfer would make sense."
Well I don't what Dallas Theatre Fan knows, but what I can tell you as someone who sells theatre tickets for a living is that the business isn't that great at all, especially with Cuba ending his time as Billy. The magic of this show is how cheap it is to ru
I can't imagine the London remounting moving to a new theatre, especially after the wretched reviews it got upon its return, unless another theatre needs filler. But I can see it going back out on tour again.
Not for anything, but by this point isn't casting Jennifer Hudson to do the big number towards the end of the show just seeming like an obvious, lazy choice?
BrodyFosse123 said: "Just did a Google search and no other media/news outlet mentions this. Only BroadwayWorld.
Don’t know how legit this news is now. VARIETY nor THE HOLLYWOOD REPORTER or THE WRAP has mentioned this news and they are always the first ones to do so."
Baz Bamigboye is arguably London's most in the know theatre writer, getting exclusives all the time. You'll see this in the regular trades soon enough.
Wow, a lot of us were there last night! First off the audience was such a mix of dressing styles, from older gents in shorts, t-shirts, and Tevas, to groups of young women dressed like a prom or a glamour show, to a bleach blond Erik Altemus in my row (behind Timbers) in a fully silver sequined jacket. So really, anything goes it seemed. (BuddyStarr, this is an ATG theatre, so if you've been to one in New York or London, you'll see "Ordertorium" and Ambassador Lounges at eac
Three years by the time it closes is not too shabby at all, especially considering the other productions of it already up, professional and not. And it'll be nice to make some room for something new.
