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Post by partytentdown on Mar 13, 2024 8:54:42 GMT
Should I see this in case I regret missing another disaster (still bitter about Too Close to the Sun)
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Post by mrbarnaby on Mar 13, 2024 9:13:03 GMT
Can anyone provide a short synopsis of what the musical is about? 2.5 hours too long by the sounds of it |
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Post by fiyero on Mar 13, 2024 9:27:29 GMT
I booked when it went on sale for June. I almost can't wait to see it now if it's still on! I did the same! I have to say, I'm watching eagerly to see if my date actually goes forward. Judging by reviews, though, I won't be too disappointed if it doesn't (though I recognise it will hurt for the cast and crew!) as I can see a different show in that time. I'm also wondering if I need a plan B. This followed by Mean Girls in the evening was going to be a weird enough day already! |
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Post by osdtdg on Mar 13, 2024 9:42:31 GMT
I did the same! I have to say, I'm watching eagerly to see if my date actually goes forward. Judging by reviews, though, I won't be too disappointed if it doesn't (though I recognise it will hurt for the cast and crew!) as I can see a different show in that time. I'm also wondering if I need a plan B. This followed by Mean Girls in the evening was going to be a weird enough day already! That would be a fine day! I have a ticket for mid-June and am keeping a list of shows I'd prefer to see at this point (Based on reviews), and if it does close early I'll pick one and probably have a much better time to be frank. I am not one who enjoys seeing the trainwreck type shows. |
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Post by Steve on Mar 13, 2024 9:43:03 GMT
Can anyone provide a short synopsis of what the musical is about? Spoilers follow. . . A middle-aged actress, Myrtle, is worried about being typecast as old, and wants her part in a new play, "The Second Woman," to be rewritten to focus on her uniqueness rather than aging. Outside the theatre, a 17 year old fan tells her how much she loves her, but is run over by a car. Now, Myrtle has a guilt-ridden breakdown where she starts seeing the 17 year old everywhere, who taunts her about her age. There is zero narrative thrust as everyone around her worries about what will happen to the play if Myrtle can't perform. The dead girl sits around giggling and tormenting Myrtle. Myrtle deals with the dead girl and performs opening night. Everyone else is pleased that they got through one night, but god knows what happens next. . . It's basically the story of this musical, in which Sheridan Smith has to go to places that must hurt, and noone knows what will happen after opening night. 😬 The principal idea is that creativity eats a hole in everyone involved, and everyone involved could die a creative death at any time, but creatives love the buzz so much that they will always return to the flame to be burned again. Again, its the meta-story of what is happening right now to all the creatives on this show. Honestly, this is all so bonkers. Cassavetes is not adaptable for a West End show unless you have the creative madness depicted in this show. For the above reasons, I think attending the Opening Night of this will be a legendary theatrical meta-moment to dine out on forever lol! |
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Post by karloscar on Mar 13, 2024 11:54:40 GMT
It sounds like this show needed to be workshopped and given a chance to iron out its problems before heading to the commercial theatre. With musicals there are so many pitfalls that it's madness not to work out whether you've got a viable product before asking people to pay West end prices, especially when it's your first musical as a writer.
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Post by fluxcapacitor on Mar 13, 2024 12:19:22 GMT
I suppose it's all very well to construct a musical which veers away from the traditional narrative/characters of a commercial piece of theatre, but when put in a commercial venue and charging commercial prices, how is it going to fill its house 8 times a week? It's going to need some elements that lend to a broader appeal in order to do that. This. Slightly off topic but I've seen a real pattern emerging over the last few years of artistic directors, new musical opportunities and others turning down strong new musicals and writers for not being "innovative" enough or for being "too traditional". There's absolutely a place to develop new and innovative work, but there's also a reason why traditional musical theatre form remains so successful. Innovation shouldn't come at the expense of that, but too often I feel theatre-makers think it's clever to throw everything out and purposefully ignore key musical theatre norms which have been tailored over years of successful shows. Give me a strong piece with traditional inspiration, form and narrative any day over an incoherent "innovative" piece that just doesn't understand what works and why. |
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Post by ix on Mar 13, 2024 13:52:12 GMT
EDIT: Sorry, quote didn't work, pasted below. Give me a strong piece with traditional inspiration, form and narrative any day over an incoherent "innovative" piece that just doesn't understand what works and why.Absolutely this. I'm in my late 50's and have been going to the theatre for most of my adult life. I tend to appreciate the slightly-more-traditional end of modern productions but can appreciate more-innovative theatre for what it is and what a team have tried to achieve, even if it isn't exactly to my taste. For instance, I saw last year's unnerving production of Oklahoma! and left the theatre feeling not knowing exactly what to think, which – to me – usually means that I experienced something worth seeing, even if I don't get it immediately. You put it well – the overwhelming incoherence of this show meant I'd made my mind up by the interval. Bonkers treats like Sheridan beating the cr*p out of a ghost with an IKEA standard lamp for several excruciatingly long and embarrassing minutes in the second half only helped cement that. She, however, stands out like an absolute jewel in this show, even though she's being asked to do stupid and unbelieveable things as an increasingly unlikeable character. I hope the critics are kind to her when reviewing it. |
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Post by stevej678 on Mar 13, 2024 14:05:27 GMT
She, however, stands out like an absolute jewel in this show, even though she's being asked to do stupid and unbelieveable things as an increasingly unlikeable character. I hope the critics are kind to her when reviewing it. As does Shira Haas, I was incredibly impressed by her West End debut. She has a great voice too. She's also quite lucky in that, unlike the rest of the cast, she doesn't have to sit through the entire show on stage every evening.  |
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Post by ncbears on Mar 13, 2024 14:48:10 GMT
A reminder that van Hove did direct a non-musical version of Opening Night nearly 20 years ago (in Amsterdam and New York City). And he used onstage cameras and a screen then.
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Post by Rory on Mar 13, 2024 15:22:53 GMT
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Post by Jon on Mar 13, 2024 15:28:14 GMT
I'm guessing she means in a starring role because her last musical was Joseph.
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Post by BurlyBeaR on Mar 13, 2024 15:35:51 GMT
She was the star in that!
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Post by simon on Mar 13, 2024 15:47:55 GMT
Lets be honest without SS Opening Night would be dead in the water.
Sheridan has a huge responsibility leading this very problematic show and I hope she is being given the support to get her through the run. I also fear that many of her devoted fans who have already booked (and paid high tkt prices) will be angry and disappointed with this show. I say that not in a patronising way, but they will be expecting a coherent and entertaining evening and on these two counts Opening Night fails to deliver.
I can't help feeling that making the opening night of "Opening Night" it's last night would be truly avant garde and best for everyone.
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Post by d'James on Mar 13, 2024 19:14:53 GMT
Can anyone provide a short synopsis of what the musical is about? Spoilers follow. . . A middle-aged actress, Myrtle, is worried about being typecast as old, and wants her part in a new play, "The Second Woman," to be rewritten to focus on her uniqueness rather than aging. Outside the theatre, a 17 year old fan tells her how much she loves her, but is run over by a car. Now, Myrtle has a guilt-ridden breakdown where she starts seeing the 17 year old everywhere, who taunts her about her age. There is zero narrative thrust as everyone around her worries about what will happen to the play if Myrtle can't perform. The dead girl sits around giggling and tormenting Myrtle. Myrtle deals with the dead girl and performs opening night. Everyone else is pleased that they got through one night, but god knows what happens next. . . It's basically the story of this musical, in which Sheridan Smith has to go to places that must hurt, and noone knows what will happen after opening night. 😬 The principal idea is that creativity eats a hole in everyone involved, and everyone involved could die a creative death at any time, but creatives love the buzz so much that they will always return to the flame to be burned again. Again, its the meta-story of what is happening right now to all the creatives on this show. Honestly, this is all so bonkers. Cassavetes is not adaptable for a West End show unless you have the creative madness depicted in this show. For the above reasons, I think attending the Opening Night of this will be a legendary theatrical meta-moment to dine out on forever lol! I'm so tempted to book to see it, just so I can say I've seen it. I have no desire to otherwise. |
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Post by n1david on Mar 13, 2024 19:46:42 GMT
I have occasionally decided not to go to productions that have had poor reviews or word of mouth - on the grounds that the tickets have been paid for so I'm not going to get them back, so I might as well not ruin a night on top of losing the cost.
I am fully invested in going to see this on the night I have booked, assuming it makes it that far...
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Post by paddy72 on Mar 13, 2024 20:36:17 GMT
Car crash or triumph. Two nights on from seeing it I still can’t decide. Everything everyone has said already in this trail is true. My still formulating memory is one of embarrassment for all the actors up there on stage having to keep going. I saw a lot of style but not so much clarity or substance. At times I felt like I was in a tv show audience watching a recording and that it would all make sense when watched later on telly at home.
My final thought is that in the programme three whole pages are given over to some 19 plus co producers. All are vibrant, active and intelligent industry alumni bringing not just backing (finance) and marketing pro but proven talents to shape a show. I’m not sure this is a case of too many cooks but the absence of one single, out spoken, strong minded producer. All too often directors are mistakenly credited with being the one who shapes a show. If you ever question the role of a great theatre producer then their absence here shows not just what they can do but how they can turn something promising - even a vanity project which is what I think I saw - into a viable work of theatrical art and success. Great theatre memories are made of this not of muddle and trouble.
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Post by westendcub on Mar 13, 2024 23:05:21 GMT
Completely on the opposite of most here, what an absolutely brilliant night of musical theater, a solid 4 stars for me!
This is challenging, batsh*t crazy at moments, keeps you on edge and not a typical West-End musical.
Does every aspect work, no but my god Sheridan is a triumph & I loved her complex & mental breakdown journey her character goes on!
I truly hope we get a cast recording because there’s so much going on, layered, a cast recording could get this a following.
I agree it’s not commercial & unlikely for a future life but it’s a great piece of art!
So glad I went, might try to get another show for this with my partner!
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Post by westendcub on Mar 13, 2024 23:21:47 GMT
Sorry one more point, there was a real good audience buzz tonight, didn’t feel at all people were walking out! Very full stalls & standing ovation for Sheridan!
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Post by mrbarnaby on Mar 14, 2024 3:26:28 GMT
Car crash or triumph. Two nights on from seeing it I still can’t decide. Everything everyone has said already in this trail is true. My still formulating memory is one of embarrassment for all the actors up there on stage having to keep going. I saw a lot of style but not so much clarity or substance. At times I felt like I was in a tv show audience watching a recording and that it would all make sense when watched later on telly at home. My final thought is that in the programme three whole pages are given over to some 19 plus co producers. All are vibrant, active and intelligent industry alumni bringing not just backing (finance) and marketing pro but proven talents to shape a show. I’m not sure this is a case of too many cooks but the absence of one single, out spoken, strong minded producer. All too often directors are mistakenly credited with being the one who shapes a show. If you ever question the role of a great theatre producer then their absence here shows not just what they can do but how they can turn something promising - even a vanity project which is what I think I saw - into a viable work of theatrical art and success. Great theatre memories are made of this not of muddle and trouble. Ivo has the power and last word on his shows. When a show has 19 producers listed- they will all just be putting money in and not have a crucial say in the creative direction of this show. |
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Post by paddy72 on Mar 14, 2024 7:34:45 GMT
I don’t know Ivo but I’d recommend he get himself a producer. If these co producers are instead backers they’re throwing away their talents as producers of so many other great productions listed in their programme biogs. All of them also don’t look like they’ve got so much personal private income to be putting in. Maybe it’s their own angels and investors money they’re playing with here.
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Post by Rory on Mar 14, 2024 8:12:10 GMT
This show has 3 main co-producers, all of whom are experienced: Wessex Grove, Gavin Kalin & Playful.
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Post by Someone in a tree on Mar 14, 2024 8:26:03 GMT
TodayTix gave us C11,C12 in the dresscricle on rush. Great view.
My friend hated it. I thought it was too self-indulgent and overlong yet somehow I was drawn to it / enjoyed it.
I found the score to be uneven and it reminded why i cant listen to a Wainwright album all the way through.
SS i still dont get the hype. Ruby Hughes on the other hand was very good.
Refreshing and very welcome to see a new musical on Shaftesbury Av that doesnt fit into the Nunn, Stroman and Jerry Zaks mould.
I would listen to a cast recording and could be tempted to see it again in a few months time.
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Post by luvvie23 on Mar 14, 2024 8:34:13 GMT
TodayTix gave us C11,C12 in the dresscricle on rush. Great view. My friend hated it. I thought it was too self-indulgent and overlong yet somehow I was drawn to it / enjoyed it. I found the score to be uneven and it reminded why i cant listen to a Wainwright album all the way through. SS i still dont get the hype. Ruby Hughes on the other hand was very good. Refreshing and very welcome to see a new musical on Shaftesbury Av that doesnt fit into the Nunn, Stroman and Jerry Zaks mould. I would listen to a cast recording and could be tempted to see it again in a few months time. Did you mean Nicola Hughes? It’s good to hear she is back on stage. |
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Post by Someone in a tree on Mar 14, 2024 9:03:47 GMT
Whoops!
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