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Post by BVM on Nov 26, 2024 12:12:11 GMT
Sounds identical to me but be interested to hear what other people who have both think!
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Post by Dr Tom on Nov 26, 2024 13:15:18 GMT
I see that Marianthe Panas made her debut as second cover Pearl on Sunday. Was anyone lucky enough to be there?
I did finally manage to see the show from the front row of one of platforms last week, which is a great view for the most part. Everything seems very fast, although the spotlights are also rather intense as they follow the racers. You are level with feet/skates a lot of the time, which I guess would appeal to some more than others. I'd happily sit there again though and everyone was on form.
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Post by ceebee on Nov 26, 2024 16:04:05 GMT
Picking up on points made by BVM and blamerobots I've also wondered about the quality and rationale behind how this has been mixed. Many listeners might choose to stream it through their phone - tinny speakers and all, others might stream through a high end car system, or the most fantastic home set-up. My benchmark for recording quality is Mark Knopfler, whose passion for the highest quality and production values has not diminished over time. I can listen to work that he has done, confident that it has been recorded to the highest standard, yet a bog standard mp3 of his music can sound totally different when it hasn't been compressed and you get the full dynamic range. I think what the theatre experience offers is the "pure" version of what is essentially a totally remastered version of Starlight. I think anything less than the theatre version is a compressed and thus compromised version. I also wonder if too much tech filtering has been done in the studio or (dare I say) perhaps people care less about this product than they do for, say, Sunset Boulevard. SB has credentials that lean into the musicality, orchestration and depth. Starlight is a different beast - an all-encompassing immersfest. Perhaps the final recording is geared to a kid with a phone who just wants to sing along or pretend to be their hero train, rather than an audiophile wanting to critique it as a work of art. I think less love has gone into the Starlight recording than the Sunset recording, because Starlight is the theatre equivalent of the Christmas novelty record. I might listen to it once or twice if the mood takes me, but I won't stick it on repeat like I might with Sunset. |
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Post by blamerobots on Nov 26, 2024 16:59:36 GMT
I agree, I sensed the intention with the mix was for lower-end devices so the vocals are at the very forefront. It's not exactly an adult's show so the cast recording wouldn't be as mixed for accurate reproduction as Sunset (as ALW said in the notes, it being mixed like a radio play).
I've begun to get used to the "vocal up" way it's mixed and it sounds great in my car so I'm really enjoying it.
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1,488 posts
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Post by BVM on Nov 26, 2024 17:12:04 GMT
Picking up on points made by BVM and blamerobots I've also wondered about the quality and rationale behind how this has been mixed. Many listeners might choose to stream it through their phone - tinny speakers and all, others might stream through a high end car system, or the most fantastic home set-up. My benchmark for recording quality is Mark Knopfler, whose passion for the highest quality and production values has not diminished over time. I can listen to work that he has done, confident that it has been recorded to the highest standard, yet a bog standard mp3 of his music can sound totally different when it hasn't been compressed and you get the full dynamic range. I think what the theatre experience offers is the "pure" version of what is essentially a totally remastered version of Starlight. I think anything less than the theatre version is a compressed and thus compromised version. I also wonder if too much tech filtering has been done in the studio or (dare I say) perhaps people care less about this product than they do for, say, Sunset Boulevard. SB has credentials that lean into the musicality, orchestration and depth. Starlight is a different beast - an all-encompassing immersfest. Perhaps the final recording is geared to a kid with a phone who just wants to sing along or pretend to be their hero train, rather than an audiophile wanting to critique it as a work of art. I think less love has gone into the Starlight recording than the Sunset recording, because Starlight is the theatre equivalent of the Christmas novelty record. I might listen to it once or twice if the mood takes me, but I won't stick it on repeat like I might with Sunset. I think you're spot on with this - particularly the second part. ALW has always viewed Starlight as "a bit of fun" and deffo wanted the recording to be "a bit of fun." (I mean I've thought for years he's totally oblivious to the life changing genius he showed in writing and producing the original ;-) which to my mind is wayyyyy more than the proverbial bit of fun). Piecing together bits and bobs from social media, I think he probably let his sons who run The Other Songs play a large part in producing this album - which of course is what the spirit of Starlight has always been about for him. You also have to have the humility to say it wasn't made for "us" aka the kinda people that chat musicals all day in places like this. And the vast majority of the general public's comments on the recording are very positive. Sunset I think was made for the audiophile as SO much about that production was how insane the score, orchestration and vocals sounded. And unlike Starlight, the begging and pleading for a cast recording very much did come from hardcore musical fans! |
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Post by BVM on Nov 26, 2024 17:19:29 GMT
Another Starlight thought - the main Facebook group for London (which has a decent amount of traffic - I mean a lot more than this thread) is now taking a pretty hardline stance against anyone posting anything critical on there, either about the show or the performers. As in negative posts don't get approved.
The reason for this is that lots of the cast have joined as have many of the cast's proud parents. It was set up as a fan group, but the cast etc joined later.
It's an interesting conundrum. And not one I have a particularly strong view on as I'd mainly come on here to speak freely and independently.
But it is a bit odd that it's now a bit censored for fear of upsetting the cast. On the one hand I really don't think censoring content is a good thing. On the other if I saw a performance I didn't like, I really wouldn't wanna mention that in a forum where said cast member might see it (or upset their Mum!). Though my overall leaning is to the former and I think cast members join these groups at their peril..... Tricky! (You then of course have the extra issue of people desperate to be mates with the cast and a very young cast enjoying their first taste of fandom and adoration!)
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Post by Dr Tom on Nov 26, 2024 17:33:53 GMT
Another Starlight thought - the main Facebook group for London (which has a decent amount of traffic - I mean a lot more than this thread) is now taking a pretty hardline stance against anyone posting anything critical on there, either about the show or the performers. As in negative posts don't get approved. I didn't know there was a Facebook group, but you haven't made me want to rush to join. I'm sure the cast already read Theatreboard as well! |
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Post by BVM on Nov 26, 2024 17:42:31 GMT
Another Starlight thought - the main Facebook group for London (which has a decent amount of traffic - I mean a lot more than this thread) is now taking a pretty hardline stance against anyone posting anything critical on there, either about the show or the performers. As in negative posts don't get approved. I didn't know there was a Facebook group, but you haven't made me want to rush to join. I'm sure the cast already read Theatreboard as well! Yeah I am sure they do too but at least that is in secrecy/under aliases. (And I don't think their Mums are here though I could be wrong!!!) |
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Post by starry1 on Nov 26, 2024 17:43:37 GMT
I see that Marianthe Panas made her debut as second cover Pearl on Sunday. Was anyone lucky enough to be there? I did finally manage to see the show from the front row of one of platforms last week, which is a great view for the most part. Everything seems very fast, although the spotlights are also rather intense as they follow the racers. You are level with feet/skates a lot of the time, which I guess would appeal to some more than others. I'd happily sit there again though and everyone was on form. She was fantastic as Pearl. Debut was the Saturday night (the show I saw) and then she did both shows on the Sunday too. |
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Post by d'James on Nov 26, 2024 20:37:23 GMT
Picking up on points made by BVM and blamerobots I've also wondered about the quality and rationale behind how this has been mixed. Many listeners might choose to stream it through their phone - tinny speakers and all, others might stream through a high end car system, or the most fantastic home set-up. My benchmark for recording quality is Mark Knopfler, whose passion for the highest quality and production values has not diminished over time. I can listen to work that he has done, confident that it has been recorded to the highest standard, yet a bog standard mp3 of his music can sound totally different when it hasn't been compressed and you get the full dynamic range. I think what the theatre experience offers is the "pure" version of what is essentially a totally remastered version of Starlight. I think anything less than the theatre version is a compressed and thus compromised version. I also wonder if too much tech filtering has been done in the studio or (dare I say) perhaps people care less about this product than they do for, say, Sunset Boulevard. SB has credentials that lean into the musicality, orchestration and depth. Starlight is a different beast - an all-encompassing immersfest. Perhaps the final recording is geared to a kid with a phone who just wants to sing along or pretend to be their hero train, rather than an audiophile wanting to critique it as a work of art. I think less love has gone into the Starlight recording than the Sunset recording, because Starlight is the theatre equivalent of the Christmas novelty record. I might listen to it once or twice if the mood takes me, but I won't stick it on repeat like I might with Sunset. Such a shame. I’ve had all other Starlight recordings on repeat throughout my life and was hoping to add this one. I will persevere. |
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Post by Dr Tom on Nov 28, 2024 22:39:34 GMT
I hadn’t planned to attend this week, but chanced my luck on going today to see Marianthe Panas as Pearl. Luckily she was on and I got one of my favourite seats through Rush. Marianthe gave a superb and powerful performance. Not only that, her and Jeevan are so adorable together.
The downside was being rewarded with the two worst audience members I’ve had at near me in a long time, a mother and daughter (at least one of pension drawing age) sat right behind. They gave commentary and repeated lines like they were watching at home on TV. They failed to work out what U-N-C-O-U-P-L-E-D spelled out, but somehow were able to finish B-A-S… before the cast. They sang, apart from the complicated new songs like “Freight is Great”. They ignored multiple people asking them to stop talking. One person even got told “I’m not a prisoner”. The usher, right next to them, chose to not get involved. The school party I’ve been sat with at Mountview tonight weren’t angels but were 100 times better.
There was also an unusual show stop and restart of the second race. As best I understand, the barriers failed to rise, leaving all four teams on the start line, by which point Momma was warmed up and set off at the same time as everyone else. Cue some crashing on the track, Renz being smart enough to skate off, a very odd sequence on the top level, and the show being stopped. All handled well and restarted smoothly a few minutes later. But it has been a rather odd day all around, which I’ll continue in the College Productions thread at some point.
Conclusion? Go and see Marianthe Panas as Pearl if you get the chance! Hopefully I’ll get to see her again in better company.
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Post by ladidah on Nov 29, 2024 8:41:20 GMT
That is such a shame the Ushers didn't intervene. When I've gone I've found the audience much better than usual.
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Post by viscountviktor on Dec 1, 2024 18:50:01 GMT
First time at this theatre and the experience is horrible. One entrance/exit for everyone to share means getting in and out takes about half an hour! God help us if there was a fire!
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Post by benj on Dec 1, 2024 20:53:09 GMT
First time at this theatre and the experience is horrible. One entrance/exit for everyone to share means getting in and out takes about half an hour! God help us if there was a fire! Really? I’ve always walked straight in when I’ve gone to the Troubadour. I’m sure they have extra fire exits to evacuate people in an emergency! |
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Post by ceebee on Dec 1, 2024 20:58:43 GMT
Tell you what, if there's event a hint of danger in that venue, when it comes to getting out I'll be the fastest thing you've ever seen.
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Post by 141920grm on Dec 1, 2024 21:20:11 GMT
Tell you what, if there's event a hint of danger in that venue, when it comes to getting out I'll be the fastest thing you've ever seen. from an outsider's POV, having a well-briefed usher per area- as they do now- would make evacuation efficient and orderly... people clambering out of the carriages of their own accord, fighting to get to the doors via the tracks (that are not that wide), would likely cause a stampede |
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Post by viscountviktor on Dec 2, 2024 10:21:22 GMT
First time at this theatre and the experience is horrible. One entrance/exit for everyone to share means getting in and out takes about half an hour! God help us if there was a fire! Really? I’ve always walked straight in when I’ve gone to the Troubadour. I’m sure they have extra fire exits to evacuate people in an emergency! They wouldn't let us use the side exits until the end. And even then we are still funnelled through one tunnel out of the theatre. Really bad design. |
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Post by 141920grm on Dec 2, 2024 11:14:05 GMT
Really? I’ve always walked straight in when I’ve gone to the Troubadour. I’m sure they have extra fire exits to evacuate people in an emergency! They wouldn't let us use the side exits until the end. And even then we are still funnelled through one tunnel out of the theatre. Really bad design. that's out of the ordinary as the several times I've been, both auditorium doors always get used (1 under locomotive, 1 next to platform 1/house left side), beginning/interval/end of the show. perhaps there was an issue with one of the doors itself or staffing shortages on the day you went, no need to be so stressed out over this |
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Post by d'James on Dec 2, 2024 19:05:49 GMT
First time at this theatre and the experience is horrible. One entrance/exit for everyone to share means getting in and out takes about half an hour! God help us if there was a fire! That was one of my first comments when I first went to the Theatre. Being at the back of the Locomotive section would be terrifying. |
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Post by r3nnrose on Dec 7, 2024 14:53:12 GMT
Just been scrolling my socials and have discovered that Red is debuting Electra today, and I believe they’re 4th cover if my memory serves me?? Either way it’s very exciting! If anyone on here is there please let us all know how they were!  |
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Post by benj on Dec 7, 2024 16:48:44 GMT
Just been scrolling my socials and have discovered that Red is debuting Electra today, and I believe they’re 4th cover if my memory serves me?? Either way it’s very exciting! If anyone on here is there please let us all know how they were! I think Red will be great as Electra - I saw him as one of the engines and he was really great. Impressive skating and a very watchable performer. Hopefully someone records the megamix! |
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Post by Dr Tom on Dec 7, 2024 17:02:57 GMT
Just been scrolling my socials and have discovered that Red is debuting Electra today, and I believe they’re 4th cover if my memory serves me?? Either way it’s very exciting! If anyone on here is there please let us all know how they were! They were great, suitably camp, very fluid, and should be ranked well above 4th cover (to be fair, I’ve not seen 2nd or 3rd cover to compare). |
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Post by benj on Dec 7, 2024 17:10:28 GMT
Just been scrolling my socials and have discovered that Red is debuting Electra today, and I believe they’re 4th cover if my memory serves me?? Either way it’s very exciting! If anyone on here is there please let us all know how they were! They were great, suitably camp, very fluid, and should be ranked well above 4th cover (to be fair, I’ve not seen 2nd or 3rd cover to compare). I actually prefer a lot of the covers because many of them have done the Bochum show and their experience really shows. |
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Post by r3nnrose on Dec 7, 2024 22:12:59 GMT
Just been scrolling my socials and have discovered that Red is debuting Electra today, and I believe they’re 4th cover if my memory serves me?? Either way it’s very exciting! If anyone on here is there please let us all know how they were! They were great, suitably camp, very fluid, and should be ranked well above 4th cover (to be fair, I’ve not seen 2nd or 3rd cover to compare). Good to know! After living off of Bochum bootlegs for the past couple of months I’ve finally booked to go and see it live in February, and I’m pleased to have heard that all of the covers were phenomenal, since for other shows I’ve had a few that have been a little bit hit and miss. |
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Post by dollybm on Dec 8, 2024 4:37:43 GMT
One of the cast of Starlight recently posted that apparently the show doesn’t actually have a ‘hierarchy’ of covers. They decide who goes on purely by who logistically makes sense for that show.
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