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Post by ladidah on Aug 13, 2024 8:20:21 GMT
When Toroto actually appeared in My Neighbour Toroto.
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Post by blamerobots on Aug 13, 2024 8:48:30 GMT
Similarly themed, but the set reveal in Spirited Away and the puppetry in that is insane.
It has the great Les Mis "back wall of windows".
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Post by Phantom of London on Aug 13, 2024 10:41:41 GMT
The original Les Miserable, the original barricades was spectacular, even Javert's suicide was a wow moment. Everything that this recent recantation isn't.
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Post by willjam39 on Aug 15, 2024 8:43:52 GMT
Its not as technical as some mentioned but i have always loved the transformation from foal joey to full size horse, the build of the music still brings hairs up.
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Post by theatreian on Aug 15, 2024 9:01:28 GMT
Some of the illusion effects in the original Ghost musical production were great. As for sets themselves the original Sunset Boulevard London set was magnificent.
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Post by harry on Aug 15, 2024 9:48:06 GMT
I didn't see it, but have heard tales of a production of Our Town for the third act, when Emily is going back to her "day" - the script calls for Mrs. Webb to mime working in the kitchen, but there is a black cloth drop and there is an actual kitchen where bacon actually is frying and the smell wafting through the theatre. More here - forum.broadwayworld.com/thread/David-Cromer-s-OUR-TOWN-Surprise. This was at the Almeida a few years ago, and was one of the best things I have ever seen. Agreed. The theatre was reconfigured with the playing space in the centre of the auditorum, audience on three sides with a curtain at the back. We'd already seen 2.5 acts (including 2 intervals) where every prop was mimed and the only set was the odd plain chair or table. When the curtain drew back to reveal the most detailed and realistic kitchen set, actors in full costume, bacon frying on the stove I was flabbergasted (along with the whole audience). I saw Groundhog Day both times at the Old Vic and agree the suicides tricked me every time. The addition in the recent revival of the one where you think you've seen him climb the ladder, and then is actually right at the front of the crowd at the bottom was a real "NO WAY!" moment. Probably over 20 years ago but does anyone else remember Mourning Becomes Electra at the NT? It had a beautiful perspective set with a Stars and Stripes roof. The walls slid from side to side to take us in and out of the house which was pretty impressive in its own right. Then when it moved to the docks halfway through act two, the whole ceiling pivoted down and there was another set on top - I think that got a round of applause. The White Guard also in the Lyttelton with it's whole house disappearing upstage was another epic set change. I remember loving the original Mary Poppins dolls' house set too. And Bert dancing over the top of the proscenium upside down is a great "they really did that?!" moment. Much simpler, but I saw Local Hero at the Minerva a couple of years ago. The first 10minutes was set in a shiny American office. When the action moved to rural coastal Scotland, the cast lifted up the shiny floors and removed them to reveal a sandy beach underneath and I remember it being really surprising and beautiful that that had been there all along without anyone in the audience realising. The tree appearing at the back towards the end of the first part of The Inheritance when they first visit the house was beautiful. And then what followed was so surprising and profoundly moving - a LOT of tears were shed. |
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Post by happysooz2 on Aug 15, 2024 10:31:14 GMT
Everything about A German Life with Maggie Smith at The Bridge. Not showy, but the stage transformation was something I will never forget.
I’ve rebooked to see Cursed Child on the weekend because of this thread and it has sparked a lot of real life conversations. Thank you.
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Post by thedrowsychaperone on Aug 15, 2024 10:34:16 GMT
I was FLOORED by the crazy amount of blood poured over various actors in Jamie Lloyd's production of "Urinetown", I don't know if it calmed down later in the run/transfer but I saw an early performance at the St. James (RIP) and they got DRENCHED
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Post by hannechalk on Aug 15, 2024 10:49:29 GMT
I didn't see it, but have heard tales of a production of Our Town for the third act, when Emily is going back to her "day" - the script calls for Mrs. Webb to mime working in the kitchen, but there is a black cloth drop and there is an actual kitchen where bacon actually is frying and the smell wafting through the theatre. More here - forum.broadwayworld.com/thread/David-Cromer-s-OUR-TOWN-SurpriseIn London, I was surprised and aghast at the end of Rosmersholm {Spoiler - click to view}
when the floor is flooded
. Not spectacular, but when Waitress was at the Adelphi, they piped the smell of freshly baked pie through the theatre. I'm a bit simple, but I have been in awe of the two touring productions of Les Mis I've seen. The barricade, Javert's suicide... Every scene is like a living painting - I don't know how else to describe it. It's the one show I'll opt for front row first circle, so I can take it all in. |
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Post by Nelly on Aug 15, 2024 10:51:59 GMT
I didn't see it, but have heard tales of a production of Our Town for the third act, when Emily is going back to her "day" - the script calls for Mrs. Webb to mime working in the kitchen, but there is a black cloth drop and there is an actual kitchen where bacon actually is frying and the smell wafting through the theatre. More here - forum.broadwayworld.com/thread/David-Cromer-s-OUR-TOWN-SurpriseIn London, I was surprised and aghast at the end of Rosmersholm {Spoiler - click to view}
when the floor is flooded
. Not spectacular, but when Waitress at the Adelphi piped the smell of freshly baked pie through the theatre. I enjoyed that the way they achieved this was literally just baking some Apple Pies FOH so simple but very effective. |
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Post by hannechalk on Aug 15, 2024 10:54:37 GMT
Not spectacular, but when Waitress at the Adelphi piped the smell of freshly baked pie through the theatre. I enjoyed that the way they achieved this was literally just baking some Apple Pies FOH so simple but very effective. And if I remember correctly, you could then buy the pies you had been smelling as well. |
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Post by marob on Aug 15, 2024 14:25:12 GMT
Everything about A German Life with Maggie Smith at The Bridge. Not showy, but the stage transformation was something I will never forget. How do you mean? I’m afraid I don’t remember that one too well myself. ladidah Yes, the reveal of that absolutely massive Totoro was stunning. I know people on here hated the show but I really enjoyed the ball scene in ALW’s Cinderella when the waltz started and the revolve kicked in so the front stalls switched places with the stage. It’s not like the NT’s endlessly reusable drum revolve, here it’s such a weirdly specific gimmick, and I don’t get why anyone would go to the expense of putting it into the fabric of the building. But I’m glad they did cause it was quite fun, but can’t imagine when it’s ever going to get used again. |
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Post by SilverFox on Aug 15, 2024 14:47:11 GMT
Everything about A German Life with Maggie Smith at The Bridge. Not showy, but the stage transformation was something I will never forget. I know people on here hated the show but I really enjoyed the ball scene in ALW’s Cinderella when the waltz started and the revolve kicked in so the front stalls switched places with the stage. It’s not like the NT’s endlessly reusable drum revolve, here it’s such a weirdly specific gimmick, and I don’t get why anyone would go to the expense of putting it into the fabric of the building. But I’m glad they did cause it was quite fun, but can’t imagine when it’s ever going to get used again.
I didn't see Cinderella, but your description makes me think the revolve is the one originally installed in the New London Theatre in 1973, restored in 2002, used in Cats (1981-2002). It has been used on a number of productions - as to the future, who can tell? I don't know if it was originally intended to move the audience, or just to facilitate the multi-format nature of the New London, but has seemingly been used a lot.
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Post by crabtree on Aug 15, 2024 15:15:46 GMT
David Essex's musical, Mutiny, saw the complex ship rise out of the floor with the sails and rigging coming down from the flies, then rotating andhaving one side drop down. very impressive but clearly they'd run out of money for tahiti which was a very dull cloth on an empty stage.
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Post by crabtree on Aug 15, 2024 15:18:23 GMT
and yes people keep mentioning war horse - so full of simple effects, but with the horse being cradled down stage whilst the cast emerge from the shadows at the back singing 'Be you remembered' was thrilling!
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Post by happysooz2 on Aug 15, 2024 16:09:36 GMT
Everything about A German Life with Maggie Smith at The Bridge. Not showy, but the stage transformation was something I will never forget. How do you mean? I’m afraid I don’t remember that one too well myself. Throughout the performance, the centre of the platform moves imperceptibly forward, leaving the walls behind to slowly separate, until by the end the table in the centre, and Brunhilde beside it, sit almost at the front of the stage. Funny what we do and don’t remember. I keep reading about stage effects in Groundhog Day and I have zero memory 😹 |
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Post by richey on Aug 15, 2024 16:39:58 GMT
Everything about A German Life with Maggie Smith at The Bridge. Not showy, but the stage transformation was something I will never forget. How do you mean? I’m afraid I don’t remember that one too well myself. ladidah Yes, the reveal of that absolutely massive Totoro was stunning. I know people on here hated the show but I really enjoyed the ball scene in ALW’s Cinderella when the waltz started and the revolve kicked in so the front stalls switched places with the stage. It’s not like the NT’s endlessly reusable drum revolve, here it’s such a weirdly specific gimmick, and I don’t get why anyone would go to the expense of putting it into the fabric of the building. But I’m glad they did cause it was quite fun, but can’t imagine when it’s ever going to get used again. This was such fun. It definitely gave a new perspective on the show, I sat in these seats both times I saw it. Hilariously the woman sat next to me the first time I went wasn't aware of what was going to happen, and she was so shocked when they started moving. |
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Post by marob on Aug 15, 2024 17:05:40 GMT
How do you mean? I’m afraid I don’t remember that one too well myself. Throughout the performance, the centre of the platform moves imperceptibly forward, leaving the walls behind to slowly separate, until by the end the table in the centre, and Brunhilde beside it, sit almost at the front of the stage. Funny what we do and don’t remember. I keep reading about stage effects in Groundhog Day and I have zero memory 😹 Thanks for the reminder. I was sitting off to one of the sides and now you mention it I do remember her slowly drifting past. It’s interesting how something so deceptively simple is actually quite high tech. |
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Post by harry on Aug 15, 2024 20:32:54 GMT
The talk of the pie smell reminds me of the original Royal Court production of Jerusalem (minor spoilers ahead for anyone who hasn’t seen it read the play at any point…). The aircon system at the RC is under the seats and a stage manager held bacon by the inlet vent in the first scene when he cooks bacon sandwiches and then, more sinisterly, burnt hair by it when he gets branded and gasoline by it when he covers the caravan in petrol. The latter was terrifying as you really thought we might all literally go up in smoke. I’m not sure if they attempted the same at the Apollo but having seen the show in both places, if they did it wasn’t nearly so successfully achieved.
That also reminded me of another simple but truly magical moment right at the end of the show when the diggers are coming and he calls for the giants and in the silence the trees start to subtly move. And though you don’t know what the cause is you know the whole audience is willing it to be the giants and then… blackout.
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Post by hannechalk on Aug 16, 2024 9:55:14 GMT
Maybe I'm again showing my simple mind, but I was impressed with 'The Woman in Black'. By all means and purposes a very simple production, three hander, a lot of sheets, lights and shadows, but I was absolutely petrified!
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Post by londonmzfitz on Aug 16, 2024 10:30:57 GMT
Nodding at a few of the above ... is it my memory or Miss Saigon, Drury Lane helicopter - was there a "gust of wind" through the audience with the arrival of the helicopter?
Singing in the Rain at the National Theatre (2000) with all that water ..
Repeated in Singing in the Rain at Sadlers Wells (2021) with all that water ...
I was in splash zone for both, took the Ma-in-law to the National and honestly the *squeals* out of her ...
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Post by anthony on Aug 16, 2024 11:06:19 GMT
In the Japanese production of Wildhorn's Dracula, the actress playing Dracula (who happens to be Wildhorn's wife) walks through a table. There are items on the table, which are moved around throughout the scene. The table is clearly solid, however, she walks right through it. She's wearing a long cape, so you only see that section of the table again once she's fully through it, but the fact that the objects are solid and moved around during the scene blows my mind. I genuinely cannot understand how it's done...
at least with other effects, you have an idea, even if you aren't 100% certain, but in this scene? Genuinely baffles me.
At 22:00. You can see the bottom of the table cloth literally not moving. MAKE IT MAKE SENSE.
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Post by blamerobots on Aug 16, 2024 12:27:59 GMT
Japanese production of Wildhorn's Dracula A side note, but I love this production. Groups like the Takarazuka Revue are incredible female-only troupes that do fully realized Broadway-level productions and they're always so good and slightly campy. There's always something wildly queer-coded about them. Love them so much. (I know this one has a mixed gender cast, but I never miss an opportunity to bring these groups up!)
Back to the effect, I genuinely have no idea how this could've been done. I didn't even notice what you were talking about at first.
I believe there may be a gap in the table that is covered up by the cloth. If the cloth is pulled tight on either side, it can appear that there is a table still there. How it is replaced so quickly, god knows. It's such a subtle and mind-blowing effect.
Edit: Okay, I think I've partly figured it out. There's definite dark spots on the table assumedly where it opens up. I believe the table is in two parts with doors from each part attaching in the middle, and the cloth is bolted/attached to the table, with some loose cloth so one half overlaps the over, making it appear to be one complete piece. I theorize that it's a remote "saloon door" mechanism, where the table allows her to walk through it by the top of it folding down whilst her cape is obscuring it. By the time she's on the other side, the cape is still draped across the table so it folds back in fine and it appears the middle of the cloth has not been split or parted and that it was always there.
It's likely much more simple than I theorize but that's what I can assume.
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Post by danb on Aug 16, 2024 13:32:20 GMT
I just remembered the marvellous bit of Terry Johnsons’Hysteria’ at the Royal Court where the stage turned into a Dali painting with melting clocks etc.
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Post by anthony on Aug 16, 2024 13:52:39 GMT
Japanese production of Wildhorn's Dracula A side note, but I love this production. Groups like the Takarazuka Revue are incredible female-only troupes that do fully realized Broadway-level productions and they're always so good and slightly campy. There's always something wildly queer-coded about them. Love them so much. (I know this one has a mixed gender cast, but I never miss an opportunity to bring these groups up!)
Back to the effect, I genuinely have no idea how this could've been done. I didn't even notice what you were talking about at first.
I believe there may be a gap in the table that is covered up by the cloth. If the cloth is pulled tight on either side, it can appear that there is a table still there. How it is replaced so quickly, god knows. It's such a subtle and mind-blowing effect.
Edit: Okay, I think I've partly figured it out. There's definite dark spots on the table assumedly where it opens up. I believe the table is in two parts with doors from each part attaching in the middle, and the cloth is bolted/attached to the table, with some loose cloth so one half overlaps the over, making it appear to be one complete piece. I theorize that it's a remote "saloon door" mechanism, where the table allows her to walk through it by the top of it folding down whilst her cape is obscuring it. By the time she's on the other side, the cape is still draped across the table so it folds back in fine and it appears the middle of the cloth has not been split or parted and that it was always there.
It's likely much more simple than I theorize but that's what I can assume.
I love Takarazuka too! The 2005 Moon Troupe production of Elisabeth is wonderful! As is the 2004 Cosmos troupe production of 'Phantom' (which actually has Wao Yoka - the lady who plays Dracula here as the Phantom!) With the effect, that is how I thought it worked too. But what confuses me is the fact that the lower table cloth never moves. Unless it's not actually fabric and it's plastic/wood? But then you can see the top of the table through her cape at all times. You are right - you can see two clear lines on either side of the table. |
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