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Post by A.Ham on Jan 7, 2024 16:54:12 GMT
I wasn't lucky enough to be at the final performance last night (I had to see 'Old Friends' instead but it was genuinely a tough choice). However, I was lucky enough to be at the Dec 30 (last performance before NYE) and I must say of the 4 times I saw the show, this was probably the most emotional and high energy. It SEEMED like a lot of the ensemble and Tom were quite emotional through all the NYE scenes, the NYE scene with Nicole/Tom seemed particularly playful and Nicole herself was milking it for all. During "Never Said Goodbye" she actually gestured to the audience to clap/cheer harder for her LOL. I didn't see her do this before (or the one time since in the closing week). Anyone feeling a little down today that all the AMAZING shows this year (e.g. Sunset, next to normal, Old Friends etc.) are all gone now?? WHAT ELSE DO WE HAVE TO LIVE FOR NOWWWW?? Totally agree, and had I not already been booked for Sunset’s closing night, I suspect I’d have had to get a ticket for Old Friends - both such fantastic shows that’ve reignited my love of musical theatre in recent months. |
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Post by toomasj on Jan 7, 2024 19:54:41 GMT
It just didn’t need to be Sunset Boulevard, which has a definitive setting, themes and grandeur which Lloyd set aside to fit in his vision. With the full backing of the original writing team of ALW, Don Black and Christopher Hampton, who were present all through rehearsals and allowed him free reign over the material. They all adore this production of the show. They're not being precious about it. You were more than happy for the Watermill/Comedy Theatre production to lose all sense of grandeur, why is it now important for this version to have it? In context, the Watermill production was staged in a tiny venue, with a minuscule stage and where actor-musician was the only choice to stage the piece. Despite this, the costumes were period appropriate, there was a staircase, and some really beautiful low-key moments like “Girl Meets Boy”. It was certainly more grand than the Lloyd production. With a ALW supported, direct to the West End and star cast production, the CRH production would’ve been a great deal grander. If that production had money for a grander scope and a West End budget, it would’ve been a smash too. |
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Post by mrbarnaby on Jan 7, 2024 20:30:22 GMT
SJP and Matthew Broderick in for the final night. SJP gave a glowing review on her Instagram. Amazing. I wish I’d seen them! I assumed the ripple of applause was for Hannah’s appearance behind the curtain but perhaps more likely for the Brodericks. I also meant to comment on how well behaved the audience were last night - thankfully. Having read musicbox’s post in the Bad Behaviour thread earlier this week I feared the worst, but I don’t think I heard one whispered comment or sweet wrapper opened or anything. A miracle! Hannah Waddingham bloody turned up in this too? Give it a rest love! |
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Post by hannechalk on Jan 7, 2024 20:40:09 GMT
Tom's final walk around the Savoy has featured on my FYP on TikTok so much, I keep bursting out 'Sunset Boulevard! SUNSET BOULEVARD' at random times.
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Post by distantcousin on Jan 7, 2024 22:18:34 GMT
Amazing. I wish I’d seen them! I assumed the ripple of applause was for Hannah’s appearance behind the curtain but perhaps more likely for the Brodericks. I also meant to comment on how well behaved the audience were last night - thankfully. Having read musicbox’s post in the Bad Behaviour thread earlier this week I feared the worst, but I don’t think I heard one whispered comment or sweet wrapper opened or anything. A miracle! Hannah Waddingham bloody turned up in this too? Give it a rest love!
Got her sights on the role?!
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Post by theatreian on Jan 7, 2024 23:20:11 GMT
Final bows:
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Post by chernjam on Jan 8, 2024 3:08:22 GMT
those final bows followed by that teaser for Broadway. Wow Thanks for sharing... now the long wait begins  |
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Post by bobbievanhusen on Jan 8, 2024 3:32:05 GMT
With the full backing of the original writing team of ALW, Don Black and Christopher Hampton, who were present all through rehearsals and allowed him free reign over the material. They all adore this production of the show. They're not being precious about it. You were more than happy for the Watermill/Comedy Theatre production to lose all sense of grandeur, why is it now important for this version to have it? In context, the Watermill production was staged in a tiny venue, with a minuscule stage and where actor-musician was the only choice to stage the piece. Despite this, the costumes were period appropriate, there was a staircase, and some really beautiful low-key moments like “Girl Meets Boy”. It was certainly more grand than the Lloyd production. With a ALW supported, direct to the West End and star cast production, the CRH production would’ve been a great deal grander. If that production had money for a grander scope and a West End budget, it would’ve been a smash too. It was a spiral staircase, a tatty chaise lounge and a potted plant. Yes, such grandeur! |
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Post by bobbievanhusen on Jan 8, 2024 3:41:54 GMT
Yes this sunset may have attracted some new people to ALW show but it was also run for most of the season dynamically pricing seats down and until mid December was the "show of the year" which you could get the best seats less than half price for on the day of the show. Sorry, but that simply isn't true. It's quite clear from the posts on here that tickets were not that easy to come by, and those that were, were reduced on the day of and were rarely ever 'best seats'. Best Seats available maybe, but not 'best' You make it sound like there were swathes of tickets available and that clearly wasn't the case, when it was the odd ticket here and there. |
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Post by ceebee on Jan 8, 2024 9:24:05 GMT
those final bows followed by that teaser for Broadway. Wow Thanks for sharing... now the long wait begins If anybody stateside isn't excited about this by now then they need to give their head a wobble. Goosebumps every time! |
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Post by ceebee on Jan 8, 2024 9:26:54 GMT
Yes this sunset may have attracted some new people to ALW show but it was also run for most of the season dynamically pricing seats down and until mid December was the "show of the year" which you could get the best seats less than half price for on the day of the show. Sorry, but that simply isn't true. It's quite clear from the posts on here that tickets were not that easy to come by, and those that were, were reduced on the day of and were rarely ever 'best seats'. Best Seats available maybe, but not 'best' You make it sound like there were swathes of tickets available and that clearly wasn't the case, when it was the odd ticket here and there. You are right - the seats available via TKTS were the same each day. Part of pricing strategy clearly. Although I saw it ten times, I'd guess my average ticket price was £80 - mainly stalls or front of dress circle and a couple of times in the grand circle (though these were prebooked). |
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Post by greatauntedna on Jan 8, 2024 10:45:39 GMT
And it was around 13th November when a lot of the prices went to crazy levels, except for Rachel’s dates.
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Post by argon on Jan 8, 2024 10:52:50 GMT
Anyone feeling a little down today that all the AMAZING shows this year (e.g. Sunset, next to normal, Old Friends etc.) are all gone now?? WHAT ELSE DO WE HAVE TO LIVE FOR NOWWWW?? I would add Crazy for You to that list. Such a void now |
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Post by kyvai on Jan 8, 2024 12:53:55 GMT
I’ve still got so many Sunset Boulevard earworms. Bring on the cast recording!!! Listening to the OBC now pales in comparison. Can’t wait to be able to listen to the new version on repeat.
Wonder how long Nicole will be holding that note in the studio!
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Post by toomasj on Jan 8, 2024 13:15:39 GMT
I really don’t get this “holding the note” and excitement about deviating from the score. I realise it’s a modern trend and popular in the now, but it’s really not my cup of tea.
Thinking back to Wicked, everyone would go on about Elphaba’s “riffing” all the time as if it’s some incredible character choice for the part. Shoshana Bean was the first to sing the part in a melismatic style, which started off as small flourishes to add colour and excitement to a phrase, and frankly ended up a massive distraction by the end of her final Wicked run. Compare her early performances to her late ones on YouTube - if you can hear the late ones over the shrieking and whooping of the audience.
Historically, performers were drilled for consistency. Consistency of energy levels, consistency in attendance and consistency in vocals. I realise this may be considered an old-fashioned view, but it was what was taught from a young age when learning your craft. Hit your marks, hit your notes, don’t let your hangover show.
The general idea is that two audiences at any point during a run - whether it’s week three, month six or year ten see the same performance. The one the producers and director signed off on and froze as a finished piece. Cameron Mackintosh subscribes heartily to this philosophy.
I’ve seen some great vocal performances as Norma (Scherzinger included - so powerful, if a touch nasal in tone) but the performance should service the role and the show; not the other way around.
I agree that shows shouldn’t become stale and new energy should be added to keep casts fresh and exciting, but suddenly deviating off-score from one night to the next, holding notes too long, “riffing” etc was traditionally a big faux-pas. Again, I realise times have changed and professional tastes change.
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Post by lolaluffneggle on Jan 8, 2024 13:27:30 GMT
I’ve still got so many Sunset Boulevard earworms. Bring on the cast recording!!! Listening to the OBC now pales in comparison. Can’t wait to be able to listen to the new version on repeat. Wonder how long Nicole will be holding that note in the studio! I believe it’s a live recording from the Savoy not the studio! |
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Post by A.Ham on Jan 8, 2024 13:33:12 GMT
Wow, a live recording would be even better than a studio recording! But when is it coming? I NEED to hear it again!
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Post by shownut on Jan 8, 2024 14:15:13 GMT
I really don’t get this “holding the note” and excitement about deviating from the score. I realise it’s a modern trend and popular in the now, but it’s really not my cup of tea. Thinking back to Wicked, everyone would go on about Elphaba’s “riffing” all the time as if it’s some incredible character choice for the part. Shoshana Bean was the first to sing the part in a melismatic style, which started off as small flourishes to add colour and excitement to a phrase, and frankly ended up a massive distraction by the end of her final Wicked run. Compare her early performances to her late ones on YouTube - if you can hear the late ones over the shrieking and whooping of the audience. Historically, performers were drilled for consistency. Consistency of energy levels, consistency in attendance and consistency in vocals. I realise this may be considered an old-fashioned view, but it was what was taught from a young age when learning your craft. Hit your marks, hit your notes, don’t let your hangover show. The general idea is that two audiences at any point during a run - whether it’s week three, month six or year ten see the same performance. The one the producers and director signed off on and froze as a finished piece. Cameron Mackintosh subscribes heartily to this philosophy. I’ve seen some great vocal performances as Norma (Scherzinger included - so powerful, if a touch nasal in tone) but the performance should service the role and the show; not the other way around. I agree that shows shouldn’t become stale and new energy should be added to keep casts fresh and exciting, but suddenly deviating off-score from one night to the next, holding notes too long, “riffing” etc was traditionally a big faux-pas. Again, I realise times have changed and professional tastes change. Holding the note as per "I've come Hoooooooome" in AIWNSG is not a new trend. The first to accentuate that word with a long note and to thrilling effect was Elaine Paige. I remember seeing it from the rear balcony of The Adelphi and it made my hairs stand on end. I would also imagine that the holding of extended notes is not just for show (though the crowds these days can't hear one without letting out a godawful woop to pull focus to themselves), but a choice made by the musical director....at least that is how it is meant to work. |
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Post by solotheatregoer on Jan 8, 2024 14:22:11 GMT
Wow, a live recording would be even better than a studio recording! But when is it coming? I NEED to hear it again! Same here, and I never thought I'd say that about an ALW production! I am on a bit of a downer after seeing that video of the final bows. I'm going to miss this show and how active this thread has been. I've signed up for the Broadway alerts. I may just have to start saving for a trip to NYC. I'm usually there in Q2 for work so was really hoping this would transfer sooner and I could have tagged this on at the end of a work trip. Seriously considering changing my holiday plans this year to see this on Broadway... |
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Post by danb on Jan 8, 2024 14:53:02 GMT
I really don’t get this “holding the note” and excitement about deviating from the score. I realise it’s a modern trend and popular in the now, but it’s really not my cup of tea. Thinking back to Wicked, everyone would go on about Elphaba’s “riffing” all the time as if it’s some incredible character choice for the part. Shoshana Bean was the first to sing the part in a melismatic style, which started off as small flourishes to add colour and excitement to a phrase, and frankly ended up a massive distraction by the end of her final Wicked run. Compare her early performances to her late ones on YouTube - if you can hear the late ones over the shrieking and whooping of the audience. Historically, performers were drilled for consistency. Consistency of energy levels, consistency in attendance and consistency in vocals. I realise this may be considered an old-fashioned view, but it was what was taught from a young age when learning your craft. Hit your marks, hit your notes, don’t let your hangover show. The general idea is that two audiences at any point during a run - whether it’s week three, month six or year ten see the same performance. The one the producers and director signed off on and froze as a finished piece. Cameron Mackintosh subscribes heartily to this philosophy. I’ve seen some great vocal performances as Norma (Scherzinger included - so powerful, if a touch nasal in tone) but the performance should service the role and the show; not the other way around. I agree that shows shouldn’t become stale and new energy should be added to keep casts fresh and exciting, but suddenly deviating off-score from one night to the next, holding notes too long, “riffing” etc was traditionally a big faux-pas. Again, I realise times have changed and professional tastes change. Holding the note as per "I've come Hoooooooome" in AIWNSG is not a new trend. The first to accentuate that word with a long note and to thrilling effect was Elaine Paige. I remember seeing it from the rear balcony of The Adelphi and it made my hairs stand on end. I would also imagine that the holding of extended notes is not just for show (though the crowds these days can't hear one without letting out a godawful woop to pull focus to themselves), but a choice made by the musical director....at least that is how it is meant to work. It was pretty much the only aspect of the show that I did not like, and I can’t really fathom why it was there. Was it Norma showing off to prove she still ‘had it’? Was it Nicole showing off? It just went against the grain of the rest of the show for me. |
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Post by jm25 on Jan 8, 2024 15:01:21 GMT
Wow, a live recording would be even better than a studio recording! But when is it coming? I NEED to hear it again! Same here, and I never thought I'd say that about an ALW production! I am on a bit of a downer after seeing that video of the final bows. I'm going to miss this show and how active this thread has been. I've signed up for the Broadway alerts. I may just have to start saving for a trip to NYC. I'm usually there in Q2 for work so was really hoping this would transfer sooner and I could have tagged this on at the end of a work trip. Seriously considering changing my holiday plans this year to see this on Broadway... I feel exactly the same way! I don’t think there will be a show like this for quite some time, so if ever there was a show worth splurging for, this is it. At least that’s how I’m justifying it to myself! Plus I don’t think I’d be able to bear seeing all the reports of it taking Broadway by storm knowing there was no way for me to see it again! |
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Post by traveller15 on Jan 8, 2024 18:13:34 GMT
It was pretty much the only aspect of the show that I did not like, and I can’t really fathom why it was there. Was it Norma showing off to prove she still ‘had it’? Was it Nicole showing off? It just went against the grain of the rest of the show for me. When I heard it, I guess by the midway point, I was "wow, this is Betty Buckley territory!" Then I saw Betty Buckley territory in the rear view mirror and eventually thought "Ok, now you're just showing off." (Though I didn't particularly mind - what a feat!) But I agree the length of the hold doesn't add much - past a certain point - and in my view is reliant on the ability to hit "at last!" just as hard (which NS absolutely did when I heard her.) Still, as stunts go, it's a hell of thing to see and hear. This is one of the small things that contribute to my feeling the show occasionally wanders into too clever by a half and some of the decisions are a bit self-indulgent. This show is so strong in its reinvention of what was. The too clevers are minor, but too many and they potentially become irritants. New York will be watching this show like a hawk, eager to tear it down, particularly if it's going to be a particularly competitive fall and Tonys, since Audra M. is coming back with Gypsy. |
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Post by toomasj on Jan 8, 2024 19:05:39 GMT
It was pretty much the only aspect of the show that I did not like, and I can’t really fathom why it was there. Was it Norma showing off to prove she still ‘had it’? Was it Nicole showing off? It just went against the grain of the rest of the show for me. When I heard it, I guess by the midway point, I was "wow, this is Betty Buckley territory!" Then I saw Betty Buckley territory in the rear view mirror and eventually thought "Ok, now you're just showing off." (Though I didn't particularly mind - what a feat!) But I agree the length of the hold doesn't add much - past a certain point - and in my view is reliant on the ability to hit "at last!" just as hard (which NS absolutely did when I heard her.) Still, as stunts go, it's a hell of thing to see and hear. This is one of the small things that contribute to my feeling the show occasionally wanders into too clever by a half and some of the decisions are a bit self-indulgent. This show is so strong in its reinvention of what was. The too clevers are minor, but too many and they potentially become irritants. New York will be watching this show like a hawk, eager to tear it down, particularly if it's going to be a particularly competitive fall and Tonys, since Audra M. is coming back with Gypsy. Just to pick up on this part; I absolutely agree. Lots of ours have been attacked very unfairly previously. I understand their suspicion of ALW produced shows; The Woman in White bombed, Bad Cinderella more recently. But this isn’t a Lloyd Webber production. As I said previously it could go either way I’ll add to this, I didn’t enjoy it because I’ve seen what Jamie Lloyd does and it isn’t for me. Broadway doesn’t have that issue so much. |
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Post by traveller15 on Jan 8, 2024 19:30:33 GMT
I'm not sure how much distinction they'll make, particularly where ALW is concerned. Sunset is synonymous with him. Granted, it's all entirely subjective, but I will always remember they were savage - beyond critical - in their reactions to Elena Roger in the Evita transfer and Tracie Bennett in the End of the Rainbow transfer. Both were well received in the UK, is I recall, if not on the pedestal of this Sunset. Maybe I am wrong. Probably I am. The thing is truly lightning in a bottle.
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