19,656 posts
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Post by BurlyBeaR on May 20, 2016 19:43:42 GMT
Today's MusicalTalk podcast is an interview with Gina Beck.
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122 posts
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Show Boat
May 20, 2016 21:41:47 GMT
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Post by kirstylovesmusicals on May 20, 2016 21:41:47 GMT
I've just booked this for June 22nd on the front row. Another new show for me, I'm doing well this year. Can't wait to see Gina and Sandra. Would be happy seeing either Chris Peluso or Dale Evans, saw them both as Chris in Miss Saigon and loved them both!
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4,955 posts
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Post by Someone in a tree on May 21, 2016 9:16:08 GMT
I would love this be recorded
Bring back MX for it purely because his voice is stronger and beef the orchestra up with lots of strings
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3,057 posts
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Post by ali973 on May 21, 2016 9:49:34 GMT
The more I think of it, the more I realize just how flawed the entire show is simply by story-telling means. Gaylord returns decades later and all is forgotten and forgiven. Girl, please.
Magnolia starts off feeling like a secondary character, but lo and behold by the end of the show you realize that she's the lead. Julie La Vern, by far the most interesting character in the show (with the best songs), is written off at second two, runs off into the wings and we know nothing of what happens to her.
So unsatisfying.
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Post by Deleted on May 21, 2016 10:16:06 GMT
I so hope this cast is recorded. The score is played beautifully!
Seeing it again this afternoon and cannot wait!
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Post by Deleted on May 21, 2016 10:39:00 GMT
I so hope this cast is recorded. The score is played beautifully! Seeing it again this afternoon and cannot wait! I'd like to echo this. how much weight would an online petition have? |
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Post by cathyfromlex on May 21, 2016 13:29:19 GMT
The more I think of it, the more I realize just how flawed the entire show is simply by story-telling means. Gaylord returns decades later and all is forgotten and forgiven. Girl, please. Magnolia starts off feeling like a secondary character, but lo and behold by the end of the show you realize that she's the lead. Julie La Vern, by far the most interesting character in the show (with the best songs), is written off at second two, runs off into the wings and we know nothing of what happens to her. So unsatisfying. Spoiler Alert! A lot of people say this and, of course, who wouldn't want to hear more songs from Rebecca Trehearn? But I would argue that we do know what happens to Julie. Deep into alcoholism, she walks away from her "last chance" job. To my mind, she's not long for this world. Others may have a different idea and I think its fine to be left open to other interpretation, but there is certainly enough information there to know there is no happily ever after for Julie. The take-away is that Julie knows this when she makes this sacrifice for someone who loved her unconditionally back at the last happy time in her life. I would also note that Julie disappears in similar, if not identical, fashion from the original novel. I agree that the ending with Gaylord is hard for modern day audiences to accept (me included), but I think this production does the best job I've ever seen with how it is handled. We are shown with a very subtle gesture that Gaylord has conquered his drinking problem when he refuses the beer offered by Captain Andy. He's obviously a broken man. But what I commend this production for is that there is a lot more ambiguity at the end than I have seen anybody mention. I've seen productions where Gay and Magnolia embrace and are arm-in-arm at the end and Magnolia tells her father that "this is a nice surprise." That most decidedly does not happen here. There is 20 years of hurt on Magnolia's face as she sees Gay, and they never get closer than several paces apart. And while everyone signals Kim that it is okay to go to her father, at the end Magnolia is alone on the upper deck of the boat, which reminded me of Parthy looking down on everything at the beginning of the show. The innocent, carefree young girl Magnolia was is long gone. Maybe a little is forgiven, but not at all forgotten. |
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Post by cathyfromlex on May 21, 2016 14:16:39 GMT
I so hope this cast is recorded. The score is played beautifully! Seeing it again this afternoon and cannot wait! I'd like to echo this. how much weight would an online petition have? I would love it, because I think this is the most "modern" sounding "Show Boat" there has ever been, but I'd say there is no chance unless R&H Theatricals (the rights holders) want to put the money in to have this orchestration recorded. It is my understanding that the point of this "Goodspeed" version was to allow "Show Boat" to be presented in a manageable fashion, with a reasonable size cast and band, so that it continues to be performed. With few exceptions, cast recordings don't make money. At least on Broadway, usually the only reason even shows that aren't successful or have short runs get a cast recording is to fuel interest in future productions (regional, amateur, etc.). In this case, its not like there aren't a million versions of these songs already out there. But I will keep my fingers crossed just in case! |
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Post by Deleted on May 21, 2016 14:51:44 GMT
I'd like to echo this. how much weight would an online petition have? I would love it, because I think this is the most "modern" sounding "Show Boat" there has ever been, but I'd say there is no chance unless R&H Theatricals (the rights holders) want to put the money in to have this orchestration recorded. It is my understanding that the point of this "Goodspeed" version was to allow "Show Boat" to be presented in a manageable fashion, with a reasonable size cast and band, so that it continues to be performed. With few exceptions, cast recordings don't make money. At least on Broadway, usually the only reason even shows that aren't successful or have short runs get a cast recording is to fuel interest in future productions (regional, amateur, etc.). In this case, its not like there aren't a million versions of these songs already out there. But I will keep my fingers crossed just in case! Is it up to the right's holders or the producers of the production? |
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Post by cathyfromlex on May 21, 2016 15:07:14 GMT
I would love it, because I think this is the most "modern" sounding "Show Boat" there has ever been, but I'd say there is no chance unless R&H Theatricals (the rights holders) want to put the money in to have this orchestration recorded. It is my understanding that the point of this "Goodspeed" version was to allow "Show Boat" to be presented in a manageable fashion, with a reasonable size cast and band, so that it continues to be performed. With few exceptions, cast recordings don't make money. At least on Broadway, usually the only reason even shows that aren't successful or have short runs get a cast recording is to fuel interest in future productions (regional, amateur, etc.). In this case, its not like there aren't a million versions of these songs already out there. But I will keep my fingers crossed just in case! Is it up to the right's holders or the producers of the production? I'm no expert, but I would think that the only people with anything to gain by doing it would be the rights holders, who would have to grant permission in any event. Somebody is going to have to fund it. |
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5,795 posts
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Show Boat
May 21, 2016 18:08:57 GMT
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Post by mrbarnaby on May 21, 2016 18:08:57 GMT
Are there any offers on tickets for this? I'm assuming there must be seeing as it's coming off.
Sooo want to see it but can't bring myself to pay lots for a ticket.
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2,452 posts
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Post by theatremadness on May 21, 2016 18:15:18 GMT
Are there any offers on tickets for this? I'm assuming there must be seeing as it's coming off. Sooo want to see it but can't bring myself to pay lots for a ticket. Have a look a couple of pages back Mr B, same question was answered with an up to 50% off Time Out link and some others and also our own Theatremonkey has posted/tweeted a while back about a deal for Wed & Thurs afternoons from as little as £9. Hope that helps!  |
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Post by ali973 on May 21, 2016 18:41:37 GMT
First row seats are around 39 and there are some that are around 25, I think. Alternatively you can literally get the cheapest seat in the house and you can either move if there's space or stay where you are and you'll still be fine. It's a rather small space and I feel that there are no bad seats in the house.
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Post by fossil on May 21, 2016 19:09:03 GMT
Make sure you go to the Showboat web site (just Google Showboat). I paid £9.75 for the front row next Wednesday matinee. Going via other sites they were a showing as few pounds more.
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Post by Deleted on May 21, 2016 19:35:10 GMT
Great audience this afternoon. About 80% full. Circle was a bit patchy, and mostly a standing ovation! Brilliant performances, Malcolm Sinclair has really come into his own. He seems to be having a lot more fun with the part.
Gutted this is closing early. I hope people, especially keen theatre goers give it a chance! It really is the best thing on offer at the moment and if we don't go, who will?
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5,139 posts
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Post by Being Alive on May 22, 2016 12:36:26 GMT
This was wonderful yesterday. Booked totally off the cuff and so glad I did. Gina and Chris were a perfect leading team, but Rebecca Trehearn stole it with 'Bill'.
I urge you to see it, best 'old show' I've seen for a long time.
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Post by firefingers on May 25, 2016 12:46:14 GMT
I can't say I was as enamoured with this as everyone else. I found it a fascinating piece of history, and had some lovely moments, but it was a flawed piece in a production that didn't do much to fix those flaws.
The good:
Some great performances in a few rolls (partially Rebecca Trehearn's).
An incredible orchestra sound, with each instrument very clear and balanced.
A very intimate space and staging, so you didn't feel far from the action.
There were some witty lines peppered throughout, and wit is something a lot of musicals lack.
Audience well behaved, and when a small disturbance started in the stalls, an usher swooped immediately.
The bad:
I thought the set and costume designs were dull, overly simplistic and uncolourful for the most part. I know the Show Boat is meant to be a little run down but there was an awful lot of greys on stage. And why they didn't have a bit of steam and whistles to give a bit of life to thing is a mystery to me.
The vocal sound when characters were downstage was horrible! I understand why, with nowhere to get speakers where they need to be on a thrust stage with a very high roof, but people sounded like robots and it made even simple dialogue difficult to understand.
Others' have outlined the story's flaws better than I.
I understand why they had cast come into the audience for certain scenes to add "immersion", but having them chat in character a few feet away when you are trying to enjoy a number was bloody annoying.
I am glad I saw it, as it is the starting point for all musical theatre, but for me it is definitely not worth a return visit.
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19,656 posts
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Post by BurlyBeaR on May 25, 2016 16:36:59 GMT
The vocal sound when characters were downstage was horrible! I understand why, with nowhere to get speakers where they need to be on a thrust stage with a very high roof, but people sounded like robots and it made even simple dialogue difficult to understand. The Crucible has a very large thrust stage and there were no sound issues. That cant be the reason for the problem. If it was then it wouldn't just affect this production. |
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Post by firefingers on May 25, 2016 17:16:30 GMT
The vocal sound when characters were downstage was horrible! I understand why, with nowhere to get speakers where they need to be on a thrust stage with a very high roof, but people sounded like robots and it made even simple dialogue difficult to understand. The Crucible has a very large thrust stage and there were no sound issues. That cant be the reason for the problem. If it was then it wouldn't just affect this production. Is the sound issue something people have noticed during the New London run? I think the problem is actors being far nearer than the speakers, so hear the actor's natural voice and then the speaker's amplified voice a split second later, but late enough to muddy the sound. Perhaps there was an issue with the system last night if this is a new problem. |
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Post by CG on the loose on May 25, 2016 17:59:06 GMT
The Crucible has a very large thrust stage and there were no sound issues. That cant be the reason for the problem. If it was then it wouldn't just affect this production. Is the sound issue something people have noticed during the New London run? I think the problem is actors being far nearer than the speakers, so hear the actor's natural voice and then the speaker's amplified voice a split second later, but late enough to muddy the sound. Perhaps there was an issue with the system last night if this is a new problem. I noticed it at the beginning of the run - it was better on a more recent visit, but still noticeable... and "muddy" is a very good word for it. |
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Post by Flim Flam on May 25, 2016 18:27:07 GMT
Yes, we were sitting side stalls (quite early on in the run)at the New London, and the sound was very poor at times, even though we were quite close to the stage. I remember commenting on it.
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Post by loureviews on May 28, 2016 22:39:14 GMT
Well that was rather marvellous, and despite missing our on all the great deals we felt it was worth £60.
The ending though remains problematic. On balance I prefer the way it was handled in the 1950s film (i.e. without the huge time leap).
Sandra Marvin is brilliant. But a great cast, and lovely orchestrations.
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751 posts
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Post by horton on Jun 1, 2016 22:21:29 GMT
Found this really tedious, I'm afraid. Top problem: muddy sound!
As a piece it is so dated and left me totally unengaged emotionally.
Sorry, but the guy playing Joe could not reach the lower notes.
Such a disappointment.
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543 posts
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Post by freckles on Jun 2, 2016 7:07:33 GMT
I loved this (went to matinee yesterday) - one of the best things I have seen lately. Beautiful production with a stunning cast. Such a shame it has to shutter early. We had side stalls seats which were great. I did notice a few sound issues early on, some of the dialogue was indeed "muddy".
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543 posts
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Post by freckles on Jun 2, 2016 8:24:29 GMT
The more I think of it, the more I realize just how flawed the entire show is simply by story-telling means. Gaylord returns decades later and all is forgotten and forgiven. Girl, please. Magnolia starts off feeling like a secondary character, but lo and behold by the end of the show you realize that she's the lead. Julie La Vern, by far the most interesting character in the show (with the best songs), is written off at second two, runs off into the wings and we know nothing of what happens to her. So unsatisfying. Isn't the whole point of the show that they can't help lovin' dat man, and are going to love one man 'til they die, etc... "When he goes away, that's a rainy day And when he comes back that day is fine The sun will shine He can come home as late as can be Home without him ain't no home to me" They both lose their man, Nola gets hers back and Julie descends into despair because she doesn't. And there's lots of examples of couples who don't have a wholly satisfying relationship, yet stick with it; Andy and Parthy, Queenie and her husband. Not very modern, of course but it isn't! |
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