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Post by BVM on Nov 12, 2023 11:04:45 GMT
Same! Without wishing to sound like a w***er I literally feel privileged to have been there now. I look at the current landscape and that era feels like a very special and unique time. I know what you mean. Musicals and the West End were at their peak in popular culture*. It was an exciting time. (*following on from the mega-musicals of the 80s of course, which were still around) Very true. We just had MORE in the 90’s! As all the 80’s mega musicals ran though the 90’s and were added to! |
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Post by andrew on Nov 12, 2023 11:14:10 GMT
It’s almost redundant to comment on this but I went last night. The front row keyworker seats were absolutely incredible. It’s really cool that Jamie Lloyd does this and ATG for tolerating it when they could have sold those seats for three times as much. The show is astoundingly good, it’ll go down for me as one of the great productions of the decade. I avoided reading a lot of spoilers about what Lloyd had done, I liked almost everything he chose to do. The opening of act 2 is one of the most exciting things I’ve seen, when he walks out on stage at the end, sitting right next to the absolutely thunderous orchestra, it’s orgasmic. I’ve come hoooooooooooooooo
(30 seconds later) oooome is such good fun. I could go on for hours. One or two friends have been sceptical and held off booking a ticket, they’re being advised they must go.
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Post by BVM on Nov 12, 2023 11:22:34 GMT
Ahhh it was a great era! Imagine if all the subsequent casts of the great musicals with iconic songs still got to do EP’s nowadays. (Still fuming there wasn’t a recording of Wicked with Kerry). The 90’s were a time of plenty for recordings generally. Joseph releasing singles, mega remixes and VHSs. Starlight re-recorded and also releasing singles. All the Sunsets. Cats, Joseph, JCS being filmed. A million international recordings of Cats and Phantom! Whistle getting singles and a concept recording as well as the OLC. Great times! Yes exactly. To think there’s not been an original London cast recording of Wicked and easy missed opportunities like the Kerry era and the hugely successful Rachel Tucker/Louise Dearman era. I know West End musicals culturally aren’t as popular as they were in the 80s/90s but some of these productions are so much in the black in terms of profit that it just seems negligent not to realise additional recordings of popular casts/special anniversaries. Especially now when streaming makes music so easily accessible, those fresh recordings could mean fresh ticket sales. And even if they don’t, you’ve got a snapshot of a musical at a particular time for a new audience. As has been said, show business is show business and I get that…..but sometimes it wouldn’t hurt to nurture a listening audience. The fact that this is RUG’s biggest hit in years and we’re having to send email requests for them to consider a recording is madness to me.Me too. I mean it is really odd when you put it like that. My only explanation I can offer is every-single-thing is about money now. And they think making a recording isn't profitable. And I guess even though so many of us on here are desperate for one, I am not naive enough to think that in 2023 a Sunset OLC is exactly going to bother the charts. (My other vague hunch is that it's not 100% straightforward - aka cheap - with Nicole's record label). But as I said upthread it's truly one thing I don't think should be about money - it's about preservation of something iconic and about being able to re-live and remember something that very soon will be "a memory of a happy moment." As I said Cameron does it. I honestly can't believe a new recording of Mary Poppins would have made any money at all - but he felt it was worth doing. VBW in Vienna have recorded every-single-revival of Elizabeth and the first 2 had highlights and complete - so in total they have done six CDs. They literally record everything they can and are only stopped when they can't get permission. It's incredible that you can always go to the theatre there and buy the CD of the cast you've just seen. I do wonder if the exponential rise in bootlegs and the ease with which people record audio on their phones has damaged the demand for professional recordings which I do think is a massive shame. Even the "best" boots do nothing for me - they sound pretty suboptimal and are literally nothing like a professional recording. Plus they are 50% audience coughing! Hey ho! |
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Post by normasturban on Nov 12, 2023 12:02:00 GMT
Yes exactly. To think there’s not been an original London cast recording of Wicked and easy missed opportunities like the Kerry era and the hugely successful Rachel Tucker/Louise Dearman era. I know West End musicals culturally aren’t as popular as they were in the 80s/90s but some of these productions are so much in the black in terms of profit that it just seems negligent not to realise additional recordings of popular casts/special anniversaries. Especially now when streaming makes music so easily accessible, those fresh recordings could mean fresh ticket sales. And even if they don’t, you’ve got a snapshot of a musical at a particular time for a new audience. As has been said, show business is show business and I get that…..but sometimes it wouldn’t hurt to nurture a listening audience. The fact that this is RUG’s biggest hit in years and we’re having to send email requests for them to consider a recording is madness to me.Me too. I mean it is really odd when you put it like that. My only explanation I can offer is every-single-thing is about money now. And they think making a recording isn't profitable. And I guess even though so many of us on here are desperate for one, I am not naive enough to think that in 2023 a Sunset OLC is exactly going to bother the charts. (My other vague hunch is that it's not 100% straightforward - aka cheap - with Nicole's record label). But as I said upthread it's truly one thing I don't think should be about money - it's about preservation of something iconic and about being able to re-live and remember something that very soon will be "a memory of a happy moment." As I said Cameron does it. I honestly can't believe a new recording of Mary Poppins would have made any money at all - but he felt it was worth doing. VBW in Vienna have recorded every-single-revival of Elizabeth and the first 2 had highlights and complete - so in total they have done six CDs. They literally record everything they can and are only stopped when they can't get permission. It's incredible that you can always go to the theatre there and buy the CD of the cast you've just seen. I do wonder if the exponential rise in bootlegs and the ease with which people record audio on their phones has damaged the demand for professional recordings which I do think is a massive shame. Even the "best" boots do nothing for me - they sound pretty suboptimal and are literally nothing like a professional recording. Plus they are 50% audience coughing! Hey ho! Yes indeed. I’m sure Cameron is under no illusion that recording again will in any way bring in money but it’s nice to see someone not short of a pound or two, decide that something is worth recording again and taking the hit on it. I know theatre is a niche interest but I’ve found it odd that modern theatre hasn’t embraced other niche avenues to maximise profits. If they had a blood red limited edition vinyl of SUNSET BVLD I’d be in there like a shot. There are ways to actually make money back on these cast recordings even if they’ll not set the charts alight as you point out. |
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Post by BVM on Nov 12, 2023 12:26:50 GMT
Yes indeed. I’m sure Cameron is under no illusion that recording again will in any way bring in money but it’s nice to see someone not short of a pound or two, decide that something is worth recording again and taking the hit on it. I know theatre is a niche interest but I’ve found it odd that modern theatre hasn’t embraced other niche avenues to maximise profits. If they had a blood red limited edition vinyl of SUNSET BVLD I’d be in there like a shot.There are ways to actually make money back on these cast recordings even if they’ll not set the charts alight as you point out. Oh my God, me too! Make it happen. Having just watched 50% of my friends each buy 9 million different editions of Tension by Kylie (honestly, they could start a museum) there are certainly sales to be maximised. I'd just hand over my credit card if they released multiple versions of Sunset lol. |
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Post by iamluisfelipe on Nov 12, 2023 12:40:53 GMT
Yes exactly. To think there’s not been an original London cast recording of Wicked and easy missed opportunities like the Kerry era and the hugely successful Rachel Tucker/Louise Dearman era. I know West End musicals culturally aren’t as popular as they were in the 80s/90s but some of these productions are so much in the black in terms of profit that it just seems negligent not to realise additional recordings of popular casts/special anniversaries. Especially now when streaming makes music so easily accessible, those fresh recordings could mean fresh ticket sales. And even if they don’t, you’ve got a snapshot of a musical at a particular time for a new audience. As has been said, show business is show business and I get that…..but sometimes it wouldn’t hurt to nurture a listening audience. The fact that this is RUG’s biggest hit in years and we’re having to send email requests for them to consider a recording is madness to me.Me too. I mean it is really odd when you put it like that. My only explanation I can offer is every-single-thing is about money now. And they think making a recording isn't profitable. And I guess even though so many of us on here are desperate for one, I am not naive enough to think that in 2023 a Sunset OLC is exactly going to bother the charts. (My other vague hunch is that it's not 100% straightforward - aka cheap - with Nicole's record label). But as I said upthread it's truly one thing I don't think should be about money - it's about preservation of something iconic and about being able to re-live and remember something that very soon will be "a memory of a happy moment." As I said Cameron does it. I honestly can't believe a new recording of Mary Poppins would have made any money at all - but he felt it was worth doing. VBW in Vienna have recorded every-single-revival of Elizabeth and the first 2 had highlights and complete - so in total they have done six CDs. They literally record everything they can and are only stopped when they can't get permission. It's incredible that you can always go to the theatre there and buy the CD of the cast you've just seen. I do wonder if the exponential rise in bootlegs and the ease with which people record audio on their phones has damaged the demand for professional recordings which I do think is a massive shame. Even the "best" boots do nothing for me - they sound pretty suboptimal and are literally nothing like a professional recording. Plus they are 50% audience coughing! Hey ho! Nicole Scherzinger doesn’t have a label, so her name wouldn’t be a problem. She’s been independent for a while now and hasn’t released anything herself for quite a long time. So yeah, I think we should keep pushing until we get something more solid - at least a “it’s not happening”. |
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Post by saral on Nov 12, 2023 17:00:07 GMT
fb.watch/ofCaNVbRgt/Speaking of Children In Need here’s Queen Patti doing it in 1993. She came from The Adelphi and IIRC had to wait until after midnight to belt this out! I taped it on VHS and watched it over and over and over…. Remember seeing this, had heard about the show but knew nothing of Patti, went out the next day to get the CDs..played them to death |
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Post by traveller15 on Nov 12, 2023 18:13:45 GMT
Hi all... a week or so ago I posted for some advice about tickets, returns etc. and many of you kindly helped out. Only to say we dithered and gambled and yesterday got G14 and 15 for 95 at the matineeL, so pretty happy about that.
I was quite ambivalent about this production, having seen and really admired the mothership productions back in the late 90s. We sat with young Norma behind the screen for close to ten minutes. Don't know if that's usual or something went wrong. In the run up I was convinced I'd hate it. And then - wow. One of the most remarkable performances of anything that I've ever seen. The energy was astounding. Just an astonishing, exhausting performance and we were just watching. I will say I thought a couple things didn't work, at least for me. Thought young Norma was overused as a device. Thought alot of the more modern twerking and finger snappings et al were inconsistent with staying in the period, which despite the spare staging I really thought it did. I didn't think the lyric tweaks improved anything and the direction in the final scene let the thing go a little over the top when you had a dramatic enough collision as it was. My boyfriend thought the choreography was frequently inconsistent with the action on the stage. Overall, the show did regularly feel a bit overly busy, albeit in very small ways. Also, audience: no wolf whistles.
But those are truly minor gripes. I loved it. I'd see it again. I'm sorry I don't live here and can't see it again. Max, Joe and Betty were exceptional, but above all, Scherzinger. I'm not able to find words. Just a triumph of delivery in all respects. She's hands down the best Norma I've seen or heard, rivalling Betty Buckley in power. (No disrespect to LuPone, I'm seeing her Friday night in Toronto but it feels like she was almost in a literally different show.)
Having seen both, this performance and production so brought out the best in the material. For me, in retrospect, the sets and costumes of the original overwhelmed or at least competed with the story. I'm raving (mad some would argue) but wow... haven't been this excited by a show in ages. So thanks for those who helped guide me toward successful ticketing.
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Post by BVM on Nov 12, 2023 18:31:45 GMT
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Post by ntherooh on Nov 12, 2023 19:12:54 GMT
Had to do a lot to be able to fly to London specifically to see the show and, boy am I happy I did! I absolutely adored it. A few minor things that did not work for me, but I was mesmerized throughout. In my experience this stripped down version gives room for the music to shine. I always loved this score, but here it’s really noticeable just how brilliant and beautiful it actually is. So strong.
Nicole deliveres in every single aspect. I feel like Tom carries the show throughout. Also have to mention Grace and David as Betty and Max. Spot on. I’ve never heard the score sung so beautifully by everyone. And that orchestra… I think you can tell how much I enjoyed my night.
Could fill pages with the things I liked, but much of it has already been said. Wish I could return to see it again. One interesting thing I noticed; on the back of the souvenir brochure it says UK Tour production. Who knows!
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Post by theatreloverlondon on Nov 12, 2023 20:26:18 GMT
Do we think Nicole is winning an Olivier for this? (I haven’t seen it yet). And is this show winning best revival?
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Post by Being Alive on Nov 12, 2023 20:52:13 GMT
Do we think Nicole is winning an Olivier for this? (I haven’t seen it yet). And is this show winning best revival? Yes and yes |
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Post by toomasj on Nov 13, 2023 11:32:28 GMT
Do we think Nicole is winning an Olivier for this? (I haven’t seen it yet). And is this show winning best revival? Gotta be Caissie Levy. |
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Post by BVM on Nov 13, 2023 12:01:44 GMT
Do we think Nicole is winning an Olivier for this? (I haven’t seen it yet). And is this show winning best revival? 100% should be yes and yes. Though awards ceremonies do like to do their own thing and wrong foot us so who knows 🤷🏻♂️. |
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Post by Being Alive on Nov 13, 2023 12:23:45 GMT
Do we think Nicole is winning an Olivier for this? (I haven’t seen it yet). And is this show winning best revival? Gotta be Caissie Levy. It should be, but Oliviers are political in the same way all awards shows are - Sunset has more co-producers and reviewed largely better overall, so I see Nicole taking this over Caissie (as much as I want Levy to win) |
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Post by sam22 on Nov 13, 2023 12:24:27 GMT
I wasn't going to book this but given what many have said on here, finally bitten the bullet. Managed to book for the last show for a reasonable (well not really but in comparison to what is left in the stalls) price. Excited to see it now.
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Post by greatauntedna on Nov 13, 2023 12:31:11 GMT
They jacked up the prices the other day didn’t they? £145 cheapest in the stalls.
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Post by topaz on Nov 13, 2023 13:01:07 GMT
Gregor Milne is making his debut as Joe this evening - will be really interested to hear reports from anyone there. I think this is the first principal understudy on so far?
I’ve also given in and booked for the last night - really looking forward to it!
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Post by yeahyeahyeahs on Nov 13, 2023 15:10:22 GMT
I was able to move my ticket from 18th to this Wednesday at the box office. They can issue refunds as well but was able to find a comparable seat.
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Post by erik24601 on Nov 13, 2023 16:58:44 GMT
Maybe CHF could takeover and transfer the show to another venue..... at least she'd be eligible for a WOS Award next year then....
Too soon?
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Post by jay78uk on Nov 13, 2023 17:16:05 GMT
Gregor Milne is making his debut as Joe this evening - will be really interested to hear reports from anyone there. I think this is the first principal understudy on so far? I’ve also given in and booked for the last night - really looking forward to it! booked a last-minute ticket this afternoon, H21 £50 from tkts so I will report back! I loved the original production of SB- must have seen it at least five times… so super excited. |
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Post by jm25 on Nov 13, 2023 17:44:31 GMT
I was able to move my ticket from 18th to this Wednesday at the box office. They can issue refunds as well but was able to find a comparable seat. I’m surprised they’re permitting swaps/refunds! Good that they’re being a bit more flexible. Have been able to nab myself a cheap ticket for tonight. Wasn’t expecting both leads to be off - thought it was just Nicole - but I’m really keen to see what a difference (if any) it makes to the show as a whole! |
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Post by chernjam on Nov 13, 2023 17:57:58 GMT
For those who (like me) don't have the brochure check out sunsetboulevardwestend.com as they have updated the homepage with a new pic of Nicole with "Must End January 6th" listed
Man there better be "Broadway in 2024" "Cast Recording Available Soon" popping up there too
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Post by steve10086 on Nov 13, 2023 18:36:46 GMT
Email sent to RUG - can’t do any harm! 🤞🏻 Should it not be LWH to contact? It’s not a RUG production. |
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Post by jm25 on Nov 13, 2023 23:54:43 GMT
I'm not long back from tonight's performance and am glad I made the effort to go, despite not normally venturing out for Monday shows!
I haven't seen Rachel in anything live before but she's got such a lovely voice and is really strong as an actress too. I wasn't expecting her Norma to feel as distinct from Nicole's as it did but it made for an interesting, different approach. She certainly felt much more grounded and 'real' - but I must admit that I prefer the more ethereal (and bonkers!) quality that Nicole brings. Just personal preference.
Actually, what surprised me most was how much I missed Tom Francis's Joe - he really is the glue that holds the whole show together. Gregor Milne was fine and I don't want to be too critical of him for what was his first performance. But he just didn't seem to inhabit the role in the way that Tom does, which unfortunately the minimalist direction only seemed to highlight.
Enjoyed my evening but for me the show is stronger with the two leads in.
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