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Post by Being Alive on Nov 27, 2024 13:07:47 GMT
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1,488 posts
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Post by BVM on Nov 27, 2024 14:33:14 GMT
I would confidently bet that 90% of the audience wants to see them get together at the end, as long as the age difference isn’t so much that it looks weird. Exactly this. For all the vaguely snobbish sounding pearl clutching on here, a director that knows their audience isn’t a bad director. If the good people of Leicester want it, let them have it I say. |
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Post by erik24601 on Nov 27, 2024 14:46:26 GMT
Why do WOS insist on cropping production photos down to that stupid portrait-ish size now and putting them on an embedded instagram post? Almost all production shots are taken and released as landscape images and this means they are cropped to within an inch of their life. I would be fuming if I was the photographer. |
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Post by Dawnstar on Nov 27, 2024 15:54:47 GMT
Is Colonel Pickering being played as an Indian character in this production? I mean I know the actor is Indian but in these photos it looks like he's in Indian clothing in most of the scenes shown. |
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Post by elfman1 on Nov 27, 2024 16:46:30 GMT
Is Colonel Pickering being played as an Indian character in this production? I mean I know the actor is Indian but in these photos it looks like he's in Indian clothing in most of the scenes shown. I don’t think they changed anything around his character to make him Indian it’s just a casting choice that worked with the script |
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Post by blamerobots on Nov 27, 2024 17:38:55 GMT
That group photo looks like My Fair Lady by way of Jonathan Miller's Mikado, sans the set
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5,996 posts
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Post by mrbarnaby on Nov 27, 2024 20:10:26 GMT
Is Colonel Pickering being played as an Indian character in this production? I mean I know the actor is Indian but in these photos it looks like he's in Indian clothing in most of the scenes shown. I don’t think they changed anything around his character to make him Indian it’s just a casting choice that worked with the script Hello- he’s in Indian attire. |
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5,996 posts
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Post by mrbarnaby on Nov 27, 2024 20:11:07 GMT
Why do WOS insist on cropping production photos down to that stupid portrait-ish size now and putting them on an embedded instagram post? Almost all production shots are taken and released as landscape images and this means they are cropped to within an inch of their life. I would be fuming if I was the photographer. Assuming it’s to cut out the terrible set? |
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Post by properjob on Nov 28, 2024 0:10:52 GMT
I've just seen this. I had slightly forgotten what an amazing piece this is with what the kids would say banger after banger. The ending works well and follows on from how the whole piece is played {Spoiler}Eliza is played with more knowing and spunk from the beginning. During the teaching there is flirtatious hand holding etc. There isn't an awkward age gap and Higgins is properly broken when Eliza leaves after the ball and won't come back to him. It is a proper love story as well as class commentary. Higgins is younger and much more active and this really works. There is a LOT of action either side of the front stalls. I was in row E and constantly having to look behind myself. I think that may of also contributed to the sound being off. In particular I don't know where the orchestra were actually located so don't know if I was hearing the bass drum direct or through the PA but it was too loud. If I go again and I think I may well do so I will definitely sit further back. It isn't quite as sumptuous as the really big productions of the past so I can see how people who come for the grandeur might prefer other versions but I think it is good and has enough set and is one of the more interesting versions I've seen. |
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Post by 141920grm on Nov 28, 2024 1:33:19 GMT
Absolutely electrifying performance tonight- can’t believe this is only their 4th show and final preview- not a single missed beat, emotions laid bare etc. Flawless repartee and dynamic between Eliza/Higgins, built up excellently to the *excellent* Act 2 confrontation. I hope the leads know exactly what they did to make it all click perfectly tonight- as this time round I’m completely convinced by the ending- the reunion reads more as the ever strong-willed Eliza deciding to give this silly man a chance, on her own terms, and doesn’t undo her personal journey at all. Pickering and Mrs Pearce also super supports with endearing choices/traits, and I have the feeling the covers for Eliza and Freddy will be fantastic too, their voices being standouts among the overall fantastic ensemble.
This production incorporates a lot of fun and joy and humour; from the choreo to the sound to all the visual gags sprinkled throughout. The physicality especially of David’s manic Higgins is so impressive and very well tempered by Molly’s Eliza whose cheekiness and inner fire make her character/growth so captivating- was completely charmed by their smallest expressions/reactions/interactions, of which there were many. Were they newly scripted since 1st preview? Improvised? Guess I’ll have to return to find out…
Also have to give a shout out to the actor who played Karpathy (and his ensemble tracks) with boundless comedy; the fantastic energy of the ensemble in the extended sequences for ‘Little Bit of Luck’ and ‘Get Me to the Church’; and the orchestrations throughout that gave the always/already wonderful score a modern sparkle.
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Post by HereForTheatre on Nov 29, 2024 10:40:39 GMT
There is some incredibly snobbish behaviour and comments on this thread, it must be said.
Carry on criticising and belittling a production you haven't even seen whilst ignoring all the positive reviews from people on here who've actually been, if you must.
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1,519 posts
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Post by mkb on Nov 29, 2024 13:08:07 GMT
Having seen this from Stalls row B at yesterday's press night -- full-price ticket via a Mastercard promotion -- I would advise those criticising to hold judgement until they've actually been.
The set, which wraps round to row D, is beautifully lit and the scenes inside 27a Wimpole Street are finely detailed. Kudos to the props team too for the aspiration detector.
The ending works perfectly here thanks to the way everything leading up to it is played.
The sound design is phenomenal with every lyric crystal clear. The vocals from the whole cast are stunning with some fine harmonies in the ensemble pieces, particularly from Jonathan Dryden Taylor. The choreography is energetic and delightful.
With Nikolai Foster at the helm, it's unsurprising that any hints of homosexuality are no longer mere hints, but it works. The reframing of Colonel Pickering as a gay Hindi gentleman turns out to be inspired. I also enjoyed Mrs Pearce, no longer the stereotypical Edwardian housekeeper, but now a Bohemian suffragette with a Northern accent.
Professor Higgins is blind to flirtations from either gender, and David Seadon-Young's interpretation is the stand-out performance of the show. He's not so fully on the autistic spectrum as Bertie Carvel was in the Old Vic's Pygmalion last year, but recognisably leaning that way. The portrayal here makes perfect sense, and it's easy to see why Eliza falls for him.
Molly Lynch as Eliza switches perfectly between accents and sings mellifluously with a semi-operatic tone. The very sudden discovery of correct pronunciation is executed credibly here, not something I have witnessed in previous versions.
Steve Furst is great fun as Alfred P. Doolittle and successfully keeps the audience on side despite the character's roguish nature.
I don't recall shedding a tear of happiness at My Fair Lady. That changed last night.
Five stars.
Act 1: 19:05-20:19
Act 2: 20:44-21:46
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1,519 posts
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Post by mkb on Nov 29, 2024 13:37:50 GMT
...btw, the orchestra are in the usual pit but it is covered over, so their output comes almost entirely via the sound system.
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Post by samuel1980 on Nov 29, 2024 13:39:30 GMT
Great review mkb, I’m looking forward to seeing it now. Interesting what you say about the set wrapping around as far as row D as I’m hoping to see this from the front stalls. There is some great dynamic pricing going on for this show especially for next week, as they’ve reduced some of the front stalls to £10!
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1,519 posts
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Post by mkb on Nov 29, 2024 14:27:58 GMT
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Post by FrontrowverPaul on Nov 29, 2024 14:40:33 GMT
There is some incredibly snobbish behaviour and comments on this thread, it must be said. Carry on criticising and belittling a production you haven't even seen whilst ignoring all the positive reviews from people on here who've actually been, if you must. There seems to have been a marked increase in negativity and the presentation of opinion as fact on here during the last year. Some of it borders on trolling IMHO. We have a recent thread entitled "Who's 'not rubbish' at producing new musicals?" Really.... "Which producers of new musicals do members most admire and why?" could generate a similar discussion without the nasty implication. |
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Post by 141920grm on Nov 29, 2024 15:48:58 GMT
...btw, the orchestra are in the usual pit but it is covered over, so their output comes almost entirely via the sound system. ... except if you are sitting at the front few rows end seats house left, the percussionist will appear to sound right beside/below you because that is where they actually are 😂 The pit isn't soundproofed, glimpses of the band can be had through gaps in the railing/coverings. |
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Post by SamB (was badoerfan) on Nov 29, 2024 19:41:45 GMT
Also have to give a shout out to the actor who played Karpathy (and his ensemble tracks) with boundless comedy. That's Damian Buhagiar - I remember him being similarly great as Sonny in In the Heights at the Kings Cross Theatre - so much comedy and energy, and an excellent, gymnastic dancer. |
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Post by max on Nov 29, 2024 22:16:39 GMT
There is some incredibly snobbish behaviour and comments on this thread, it must be said. Carry on criticising and belittling a production you haven't even seen whilst ignoring all the positive reviews from people on here who've actually been, if you must. There seems to have been a marked increase in negativity and the presentation of opinion as fact on here during the last year. Some of it borders on trolling IMHO. We have a recent thread entitled "Who's 'not rubbish' at producing new musicals?" Really.... "Which producers of new musicals do members most admire and why?" could generate a similar discussion without the nasty implication. I created that thread in reaction to Kenny Wax blaming the marketing of his own show as 'too woke', while the show is still running and the cast facing closure. Yet a glance back at the original marketing proves it wasn't woke at all, but indeed focused on the exact friendships he says should have been focused on. So it comes across as blaming the material and/or cast for just....being who or what they are. We know about ALW's tendency to blame. I think bad practice was worth raising when performers and writers take the rap, because producers can't manage the 'cool' they're initially so desperate to get close to; but I ended the opening post asking "Who saves the day?" and have liked all the suggestions for who indeed saves the day. Anyway thanks for the wagging finger. Naughty naughty naughty. |
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Post by iantheknow on Dec 1, 2024 18:22:24 GMT
Saw this last night, it is just wonderful
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4,186 posts
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Post by HereForTheatre on Dec 7, 2024 10:19:54 GMT
The Telegraph *****
The Mail *****
Jonahan Baz *****
The Reviews Hub *****
Musical Theatre Review *****
The Times ****
What's On Stage ****
The Stage ***
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4,186 posts
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Post by HereForTheatre on Dec 7, 2024 10:22:05 GMT
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Post by xanady on Dec 8, 2024 16:40:10 GMT
A very special production of this timeless classic.
Really top-notch entertainment in every department.
Highlights-the busy and detailed wrap-around set,the high-energy choreography of Dolittle’s big numbers,the chemistry between the two main leads,the great use of the Curve Youth group as street urchins and the great comedic timing throughout the show.
Beautifully sung and a snip for £10 in Stalls row B (central).
I’m a big fan of the Curve and everything they represent and hope this does well for them.
Will be back to see it over Christmas again.
Loverly!
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Post by nash16 on Dec 8, 2024 21:37:03 GMT
A very special production of this timeless classic. Really top-notch entertainment in every department. Highlights-the busy and detailed wrap-around set,the high-energy choreography of Dolittle’s big numbers,the chemistry between the two main leads,the great use of the Curve Youth group as street urchins and the great comedic timing throughout the show. Beautifully sung and a snip for £10 in Stalls row B (central). I’m a big fan of the Curve and everything they represent and hope this does well for them. Will be back to see it over Christmas again. Loverly! They’re not using the Youth Group again and not paying them are they? Didn’t they get into trouble for doing that with A Chorus Line? |
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Post by HereForTheatre on Dec 9, 2024 7:39:26 GMT
A very special production of this timeless classic. Really top-notch entertainment in every department. Highlights-the busy and detailed wrap-around set,the high-energy choreography of Dolittle’s big numbers,the chemistry between the two main leads,the great use of the Curve Youth group as street urchins and the great comedic timing throughout the show. Beautifully sung and a snip for £10 in Stalls row B (central). I’m a big fan of the Curve and everything they represent and hope this does well for them. Will be back to see it over Christmas again. Loverly! They’re not using the Youth Group again and not paying them are they? Didn’t they get into trouble for doing that with A Chorus Line? No, they didn't get into "trouble" for it. They use the Youth Theatre members every year for the Xmas production and have done for the last 10 years or more, In the same way they give them their own productions, it's nothing new and it's a voluntary youth group, why would they get paid. The kids are fine with it, the parents are fine with it. The kids just want the experience that's the whole point of the youth theatre group. They aren't being locked away in the basement and released onto the stage, they don't have to do it, they choose to because it's exciting and an opportunity. Instead of discourse over this how about it being seen a good that they are giving their youth theatre group the chance to be in a large scale professional production every year. Some have gone on to be professional theatre stars and I'm sure would credit their time in that group as a great experience and stepping stone. |
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