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Post by anthony on Sept 24, 2023 15:03:23 GMT
I don't think she ever did - Danvers has an alternate and from West End Understudies, I think the alternate has done all matinees? Why would the character of Danvers need an alternate? I know the last chorus of the reprise of the title song has some big notes, but Danvers is a supporting role. Even Willemijn (who was clearly the star of the show in Austria) took her bow before the actors playing Maxim and I. If you have Elphabas doing eight shows a week, then surely Danvers should be doing eight (especially for such a limited run). There are far heavier roles in musical theatre than Danvers. I wanted to see Kara Lane, but I’m attending a matinee. At the time of booking, there was no announcement of an alternate. I don't know. I didn't cast it  Another observation from the bootleg... at the end of Act 1, when Danvers descends the staircase for the first reprise of 'Rebecca', the lyrics are so random. She sings "how can the curtain go up when there is no play?" SURELY it should be "how can the curtain go up when there is no star?" or something to that effect? Comparing Rebecca (as a person) to a play is such a weird metaphor that just doesn't work in English? |
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Post by mrbarnaby on Sept 24, 2023 22:09:50 GMT
Nothing about the show works in this English version.
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Post by seeseveryshow1 on Sept 24, 2023 23:05:52 GMT
Attended today’s (Sunday) matinee. First time visitor to this theater. House looked full and glad I had an aisle seat in the 4th row.
I did not see a cast list posted so I do not know who was performing.
I found it tedious at times, bombastic and overwrought. Yes, the Manderley set is cheap and ugly. The sound system was terrific. Didn’t miss a word or lyric.
I don’t remember the movie or the book. But it seemed odd to me that the coroner did not report about Rebecca’s head wound and that her lungs were not filled with water (she did not drown).
Heard rumbling a few times during the performance and wondered whether it was noise from trains above in Charing Cross Station, or something else.
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Post by rowm on Sept 25, 2023 12:22:01 GMT
I've been twice now one evening and one matinee both full houses and both shows received well by the audience.
The trains rumbling above add to the atmosphere of the show.
I just love the show, yes improvements could be made as with most other shows but I love it as it is in this small theatre , really feels like you are in 'I's memories to me.
Can't wait to go again in October .
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Post by BVM on Sept 27, 2023 22:22:27 GMT
I really rather enjoyed this tonight.
Yes the set was suboptimal, but the cast, orchestra and sound were all great. Probably the best sound I’ve ever heard in that theatre in fact. I think the larger orchestra paid off.
Thought the three leads were excellent and delivered the bangers with gusto.
Lovely to finally hear it in English. I thought the lyrics were absolutely fine.
Yes it comes off poorly if directly compared to the Vienna production. But at the Charing Cross it was never going to be that sort of thing.
3.5 stars. Would have been 4 had the set been prettier!
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Post by mkb on Sept 30, 2023 2:17:44 GMT
I particularly enjoyed all of the banging and movement of the white curtain whenever I was doing a little solo on the downstage steps. And I particularly enjoyed this sentence, which on first view suggested you got so frustrated you went up on stage to show them how it's done - several times! Quite! But how do you know the second Mrs de Winter enjoyed that sentence? |
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Post by mkb on Sept 30, 2023 2:54:20 GMT
Oh dear! Oh dear! Oh dear!
This was very nearly so-bad-it's-great, but it wasn't quite bad enough. But it is salvageable.
Forget any ideas about rewriting the lyrics, lyrics that had me chortling out loud frequently; forget about re-casting with age-appropriate performers who can act; do not put this on a bigger stage; do not light it properly; and whatever you do, do not change the set design.
Instead, embrace it, camp it up, and turn up the hamming-it-up dial several more notches (as there were strong suggestions that some cast members were already starting to do this). This has the potential to become a cult, must-see classic. As it stands, it's well on the way to being a marvellous spoof, but it's not there yet.
It's strengths are the musical score and the fact that the (utterly banal) lyrics are beautifully sung. The style and effect reminded me of Spamalot's "The Song That Goes Like This".
I was unencumbered by any prior knowledge of the show, save having seen Hitchcock's fine movie version, and the ratings atop this thread. My expectations were set accordingly. (In fact, I booked only two days ago, when two great seats in the centre of row K opened up, guessing -- correctly -- that I could be missing out on a show that will be talked about incredulously for years to come.)
And those ratings are harsh! Take no notice. You cannot fail to enjoy this production. Despite being deliciously awful, it nevertheless has a cracking story seeped in sumptuous melodies and voices. It's both five-star and one-star simultaneously, so how do you rate that?
Be warned that if you sit in rows B to J, you will struggle to see some of the action on the de facto second stage in the cross-aisle in front of K.
Three stars (going on averages).
Act 1: 19:34-20:43
Act 2: 21:04-22:06
(Ignore the 2:15 running time still quoted on the official venue website. That's nonsense.)
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Post by mkb on Sept 30, 2023 3:19:08 GMT
An email from the theatre had promised a post-show discussion tonight. It would be hosted by "theatre critic and arts journalist", Mr Mark Shenton, who I know is a TheatreBoard favourite. (No sniggering at the back please.)
He didn't seem best pleased -- with good reason -- that the theatre forgot (or maybe chose not) to announce the event from the stage, either beforehand or at the bows, meaning that only 26 people stayed behind. I nearly left assuming it must have been cancelled.
Anyone who thought Rebecca a car crash had seen nothing yet. Shenton's handling was dire. He was clearly winging it with no prepared questions. Talking to four cast members, he got Alex James-Ward's first name wrong, and regularly spoke when he was not holding the mic.
Some sample discourse:
"You're all drama-school trained aren't you?"
"Yes!"
"Where did you go?"
"It's a big deal this, isn't it?"
You get the idea.
Tellingly, when Richard Carson said that they had seven weeks left to run, Lauren Jones's face had such a look of anguish at the thought that I felt genuine sorrow for her.
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Post by mrbarnaby on Sept 30, 2023 9:32:25 GMT
This sounds brilliant! Karma for Shenton.
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Post by 141920grm on Sept 30, 2023 10:31:24 GMT
Attended last night’s show + post show talk too… yes Lauren and Kara’s vocals were incredible, yes the opening had such a lovely filmic quality I almost questioned the critical reviews of the production design on here, alas there were then many more moments in the show that made me want to giggle/hide my face in shock/horror/incredulity…
But the biggest facepalm moments by far was during the Q&A when Mark Shenton got the Favell actor’s name wrong to his face despite having a programme on hand, and almost tried to argue with Lauren about the real name of ‘I’ which he thought was Caroline despite having seen the show twice…
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Post by BVM on Sept 30, 2023 10:37:00 GMT
Attended last night’s show + post show talk too… yes Lauren and Kara’s vocals were incredible, yes the opening had such a lovely filmic quality I almost questioned the critical reviews of the production design on here, alas there were then many more moments in the show that made me want to giggle/hide my face in shock/horror/incredulity… But the biggest facepalm moments by far was during the Q&A when Mark Shenton got the Favell actor’s name wrong to his face despite having a programme on hand, and almost tried to argue with Lauren about the real name of ‘I’ which he thought was Caroline despite having seen the show twice… Oh my God! Why oh why did they ask Shenton!? It's the last thing this poor beleaguered show needs! |
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Post by mkb on Sept 30, 2023 10:43:01 GMT
Perhaps they are thinking of offering him "stunt casting" as Mrs Danvers for the rest of the run The only character with a Cornish accent was mad Ben. If Shenton can do Cornish, maybe that would be more suited? |
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Post by mkb on Sept 30, 2023 10:52:37 GMT
But the biggest facepalm moments by far was during the Q&A when Mark Shenton got the Favell actor’s name wrong to his face despite having a programme on hand, and almost tried to argue with Lauren about the real name of ‘I’ which he thought was Caroline despite having seen the show twice… It was also revealed by Alex James-Ward (Favell) that when he enters early on playing a waiter, the tray carrying three gelatos are actually whipped cream. He offers one to the audience and he can tell from the response what the audience is like. Last night it was offered first to Shenton, then two others. No takers. |
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Post by Someone in a tree on Sept 30, 2023 11:01:57 GMT
Shenton and this production sound like a match made in heaven
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Post by 141920grm on Sept 30, 2023 11:26:11 GMT
It was also revealed by Alex James-Ward (Favell) that when he enters early on playing a waiter, the tray carrying three gelatos are actually whipped cream. He offers one to the audience and he can tell from the response what the audience is like. Last night it was offered first to Shenton, then two others. No takers. I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂 |
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Post by BVM on Sept 30, 2023 11:35:38 GMT
It was also revealed by Alex James-Ward (Favell) that when he enters early on playing a waiter, the tray carrying three gelatos are actually whipped cream. He offers one to the audience and he can tell from the response what the audience is like. Last night it was offered first to Shenton, then two others. No takers. I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂 I’d be worried about Lysteria. Honestly between the state of the toilets, the damp auditorium and now warm cream - whole experience is a health hazard 😱. |
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Post by 141920grm on Sept 30, 2023 12:06:46 GMT
Some venting about the staging: {Spoiler - click to view}
Initially enjoyed the actors using the downstage steps for scenes while the crew swapped the sets around behind the white curtain, but at times they were *really* making a racket back there! I just wanted to hear Lauren and not the crashes thumps and train noises in the background :/
However the tactic got old after a few more scenes taking place on those steps.
Cherry on top (not) was Richard taking a casual seat on those steps for his final lines while Manderley was 'burning'... lol...
And one almost excruciatingly long transition where there was no music, no actors, half darkness, just endless shuffling behind the white curtain as they got the correct wall panels ready for the next scene.
The floral/vine patterns on the panels were just ugly.
The dining tables and chairs used for Monte Carlo hotel/car/cliff scenes were well intended, but they did absolutely zero with the lighting which could have gone a long way in aiding the imagination/suspension of disbelief. Or at least flip the tablecloths over... not the chairs...
The worst/most laughable transition was after 'Rebecca 1', after the stage right panel/windows/French doors had been thrown wide with fog still drifting in, Mrs Danvers and 'I' having turned to leave the room... a crew member leaping in through the exact opening emerging from the fog was f-ing TERRIFYING (me thinking- did I miss something in the book? did someone break into the house? will I be witnessing something truly innovative with the transitions?) but NOOOOO it was just the next set pieces having to be brought in and what better place for the crew dressed in all black to jump in, than right in front of the audience and without a blackout??...
I sat nervously through the rest of Act 2 whenever that window panel + fog was present... |
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Post by tubifrank on Sept 30, 2023 14:37:07 GMT
He didn't seem best pleased -- with good reason -- that the theatre forgot (or maybe chose not) to announce the event from the stage, either beforehand or at the bows, meaning that only 26 people stayed behind. I nearly left assuming it must have been cancelled. I was in last night and heard an (admittedly very quiet) announcement at the back of the auditorium - probably a broken system judging by the state of the rest of the theatre! I didn’t stay for the Q&A as I can’t abide that man. As for the show, the cast and the orchestra are the best thing about it by miles. I’ll spare you my thoughts on everything else as I have nothing to say that hasn’t already been said… |
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Post by max on Sept 30, 2023 22:47:06 GMT
I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂 I’d be worried about Lysteria. Honestly between the state of the toilets, the damp auditorium and now warm cream - whole experience is a health hazard 😱. Personally I like any take away souvenir from a show: whistling a tune, a t-shirt, listeria. The only reason I want to produce Mame' is to sell merch saying "I've been mamed" |
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Post by Fleance on Oct 1, 2023 1:36:13 GMT
I'm confused though, does he/the production actually want the audience to accept the gelatos, whoever does would be quite let down wouldn't they?! Show doesn't need any more of that 😂 I’d be worried about Lysteria. Honestly between the state of the toilets, the damp auditorium and now warm cream - whole experience is a health hazard 😱. I've been to the Charing Cross twice: For Ragtime, which I loved, and for From Here to Eternity which I liked very much and thought very well staged. I wouldn't have gone to the latter, but a friend recommended it, and I'm glad he did. But -- when I saw Ragtime (2016), there was definitely a dank, mildew-ish pong about the place, which was not present for From Here to Eternity (2022). |
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Post by max on Oct 1, 2023 8:55:31 GMT
Some speculating above whether there's a world in which Mark Shenton could have an ongoing role.
Can I suggest that the much missed grand staircase be cleverly personified by La Shenton somewhat in the manner of Lumiere in Disney's 'Beauty & The Beast'? Stannah. An attendant male dance troupe around him would play the Bannisters, whipping off their tops to reveal body paint for the flames.
Just a thought.
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Post by austink on Oct 1, 2023 10:19:17 GMT
Let’s be clear the Charing Cross needs about a million spent on it to address basic mechanical and technical issues to bring it up to the basic expectations of an off west end theatre.
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Post by esteveyb on Oct 3, 2023 23:55:51 GMT
Oh dear! Oh dear! Oh dear! This was very nearly so-bad-it's-great, but it wasn't quite bad enough. But it is salvageable. Forget any ideas about rewriting the lyrics, lyrics that had me chortling out loud frequently; forget about re-casting with age-appropriate performers who can act; do not put this on a bigger stage; do not light it properly; and whatever you do, do not change the set design. Instead, embrace it, camp it up, and turn up the hamming-it-up dial several more notches (as there were strong suggestions that some cast members were already starting to do this). This has the potential to become a cult, must-see classic. As it stands, it's well on the way to being a marvellous spoof, but it's not there yet. It's strengths are the musical score and the fact that the (utterly banal) lyrics are beautifully sung. The style and effect reminded me of Spamalot's "The Song That Goes Like This". I was unencumbered by any prior knowledge of the show, save having seen Hitchcock's fine movie version, and the ratings atop this thread. My expectations were set accordingly. (In fact, I booked only two days ago, when two great seats in the centre of row K opened up, guessing -- correctly -- that I could be missing out on a show that will be talked about incredulously for years to come.) And those ratings are harsh! Take no notice. You cannot fail to enjoy this production. Despite being deliciously awful, it nevertheless has a cracking story seeped in sumptuous melodies and voices. It's both five-star and one-star simultaneously, so how do you rate that? Be warned that if you sit in rows B to J, you will struggle to see some of the action on the de facto second stage in the cross-aisle in front of K. Three stars (going on averages). Act 1: 19:34-20:43 Act 2: 21:04-22:06 (Ignore the 2:15 running time still quoted on the official venue website. That's nonsense.) I went to see this tonight and agree completely. I'd never seen the film, have steered clear of reviews and literally decided (thanks to TKTS) to get a row C end of row seat at 7pm. It is SO camp - I absolutely LOVED it! It's beautifully sung, beautifully orchestrated, yet so, so camp with hilarious lyrics, over the top acting, melodrama for days, and ropey staging (I also found it funny when you could hear it creaking when the white curtain was pulled as they moved set pieces around, and it's already in a noisy theatre). Mrs. Danvers is a queer icon! |
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Post by BVM on Oct 7, 2023 8:49:28 GMT
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Post by BVM on Oct 7, 2023 8:53:48 GMT
[/quote]I went to see this tonight and agree completely. I'd never seen the film, have steered clear of reviews and literally decided (thanks to TKTS) to get a row C end of row seat at 7pm.
It is SO camp - I absolutely LOVED it! It's beautifully sung, beautifully orchestrated, yet so, so camp with hilarious lyrics, over the top acting, melodrama for days, and ropey staging (I also found it funny when you could hear it creaking when the white curtain was pulled as they moved set pieces around, and it's already in a noisy theatre).
Mrs. Danvers is a queer icon![/quote]
I’ve said it ever since I saw it in Vienna - it’s a camp classic!
(It’s why I don’t understand the fuss about the lyrics - they serve the piece well I think).
And Mrs Danvers does indeed serve queer icon the whole time she’s on stage. Love it!
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