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Post by Deleted on Nov 17, 2017 13:49:12 GMT
Not sure as I have never seen any NT live showings here yet. They usually bypass Spain so this is something new for me at least. I'll let you know in February. |
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Post by Deleted on Nov 17, 2017 14:27:53 GMT
by the way, did everyones screening have subtitles or just ours? Ours didnt! How odd! saying that, I don't come from the most cultured town so it probably helped them....actually I am shocked they could read!
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Follies
Nov 17, 2017 14:57:12 GMT
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Post by karloscar on Nov 17, 2017 14:57:12 GMT
No subtitles here either, but we did get a ten and five minute to curtain warning in the top right corner near the end of the show. Quite distracting.
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Post by raiseitup on Nov 17, 2017 15:08:37 GMT
Follies nominated for 3 awards at the Evening Standard Theatre Awards
Best Musical
Best Musical Performance – Janie Dee
Best Director – Dominic Cooke
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Post by Someone in a tree on Nov 17, 2017 16:53:32 GMT
Follies nominated for 3 awards at the Evening Standard Theatre Awards Best Musical Best Musical Performance – Janie Dee Best Director – Dominic Cooke If I could vote for one it would be Janie Dee ... and then I would cast her in every sondheim role I could! |
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Post by frankubelik on Nov 17, 2017 18:13:12 GMT
Another unpopular post but.......the live screening only highlighted the excruciating vocal inadequacies of the majority of the cast. The sound was truly awful too. Dominic Cook told us it had taken a year to cast this....what a waste of time!
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Post by Deleted on Nov 17, 2017 18:56:04 GMT
Another unpopular post but.......the live screening only highlighted the excruciating vocal inadequacies of the majority of the cast. The sound was truly awful too. Dominic Cook told us it had taken a year to cast this....what a waste of time! Yes, I thought about this and wondered if it was deliberate. I wondered if the director's thinking was that they're meant to be showgirls rather than fantastic singers. They are all also meant to have their best years as performers behind them. They can't dance as well as they did when younger either. |
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Post by Mr Crummles on Nov 17, 2017 19:05:47 GMT
I thought this was such an amazing production. I saw it about two weeks ago and then again last night, at the NT live screening. I think people here have already said all I thought about the show. The only think that I will perhaps differ from most comments is how specially touching I thought Imelda Staunton was. I was suprised with the comparisons made with her Mamma Rose, as I felt she was completely different in this role from the sly, guileful, down-to-earth New York matron, determined to have her own way no matter what. Her Sally was so vulnerable, so pathetically infatuated with a romantic illusion that loomed from her past that when she sang "Losing my Mind" my heart really broke. This moment and her last scene completely overwhelmed me. I think there was something of Blanche Dubois in her that really got to me. Brilliant production.
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Nov 17, 2017 20:31:38 GMT
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Post by Rory on Nov 17, 2017 20:31:38 GMT
I saw it last night via NT Live and adored it. The 4 principals were simply outstanding as was Tracie Bennett. They conveyed every emotion of their characters beautifully - the yearning, ecstacy, abandonment, the searing pain of a life lived regretfully, the 'making do'. Fabulous. No subtitles but occasionally the orchestration overpowered the vocals. It didn't detract too much. I was rapt.
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Post by ronsdivas on Nov 17, 2017 22:35:06 GMT
I saw it last night via NT Live and adored it. The 4 principals were simply outstanding as was Tracie Bennett. They conveyed every emotion of their characters beautifully - the yearning, ecstacy, abandonment, the searing pain of a life lived regretfully, the 'making do'. Fabulous. No subtitles but occasionally the orchestration overpowered the vocals. It didn't detract too much. I was rapt. We saw it "LIVE" here in New York at Kew Gardens Cinema at 2pm in the afternoon. It was a PACKED house and the production was sensational. We had no issues with sound or picture. It was beautifully staged and sung. Congrats to all the cast , crew, orchestra, camera work...it was GREAT!! |
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Post by Being Alive on Nov 18, 2017 0:23:41 GMT
Rewatched it again tonight at a different venue, with much better sound quality, and no subtitles. Tracie Bennett gives her life in I'm Still Here, and its glorious to get to hear Dawn Hope sing that ending of Who's That Woman with as much power and conviction as she does. It's just the perfect production for me. Imelda really got me again tonight, Losing My Mind is masterful
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Nov 18, 2017 7:05:35 GMT
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Post by bimse on Nov 18, 2017 7:05:35 GMT
Will it be issued as a dvd? I hope so , I loved it .
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Nov 18, 2017 7:57:19 GMT
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Post by Deleted on Nov 18, 2017 7:57:19 GMT
Will it be issued as a dvd? I hope so , I loved it . I tweeted them and asked but got no reply 😕 |
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Nov 18, 2017 8:47:47 GMT
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Post by kathryn on Nov 18, 2017 8:47:47 GMT
NT Live don't issue DVDs, ever.
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Post by anthony40 on Nov 18, 2017 9:23:31 GMT
NT Live don't issue DVDs, ever. My God I wish they did! |
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Post by ukpuppetboy on Nov 18, 2017 9:30:12 GMT
Rewatched it again tonight at a different venue, with much better sound quality, and no subtitles. Tracie Bennett gives her life in I'm Still Here, and its glorious to get to hear Dawn Hope sing that ending of Who's That Woman with as much power and conviction as she does. It's just the perfect production for me. Imelda really got me again tonight, Losing My Mind is masterful I take it the vocals at the end of "Who's That Woman" was more 'convincing' on film than they were live. Not that I'm taking anything away from her. I loved the choreography and fair play to the ladies who were on stage way more for it than some have suggested. |
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Post by Deleted on Nov 26, 2017 19:37:15 GMT
Went back for a second viewing on Friday and it's as good as it was at the first preview, although there have been a few changes in the staging. They have cut the bolero dance 'Bolero D'Amour', Solange (who is still the weakest link) now starts her number on the fire escape stairs, The Loveland section use to have a curtain pulled round after each number, which left too long of a pause between each song, has been replaced with a drop down that speeds things up. 'You're Gonna Love Tomorrow' now has the male ensemble bring on prop furniture during the number, and pulling focus by camping it up as they went off! I wonder if that was why Margie is now female, so they could use the boys in this.
The biggest change was during Ben's breakdown at the end. At the preview it was just Ben and Phyllis on the stage, but now the entire cast come on stage and stand around him. Because I was in the circle i was able to see it all, but if you were in the first few rows, i doubt you would have been able to see through everyone.
Imelda Staunton was excellent and looks like a tiny Polly Pocket from upstairs. Janie Dee sounded like she might have been having a few issues vocally, her Phyllis seems to be quite bitter from the moment she comes on stage and didn't really leave her anywhere to go, so it seemed a bit the same all the way through. Still, it is a fantastic production and doubt i'll see a Follies production like it again.
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Post by nialld on Nov 27, 2017 0:14:56 GMT
Went back for a second viewing on Friday and it's as good as it was at the first preview, although there have been a few changes in the staging. They have cut the bolero dance 'Bolero D'Amour', Solange (who is still the weakest link) now starts her number on the fire escape stairs, The Loveland section use to have a curtain pulled round after each number, which left too long of a pause between each song, has been replaced with a drop down that speeds things up. 'You're Gonna Love Tomorrow' now has the male ensemble bring on prop furniture during the number, and pulling focus by camping it up as they went off! I wonder if that was why Margie is now female, so they could use the boys in this.
The biggest change was during Ben's breakdown at the end. At the preview it was just Ben and Phyllis on the stage, but now the entire cast come on stage and stand around him. Because I was in the circle i was able to see it all, but if you were in the first few rows, i doubt you would have been able to see through everyone. Imelda Staunton was excellent and looks like a tiny Polly Pocket from upstairs. Janie Dee sounded like she might have been having a few issues vocally, her Phyllis seems to be quite bitter from the moment she comes on stage and didn't really leave her anywhere to go, so it seemed a bit the same all the way through. Still, it is a fantastic production and doubt i'll see a Follies production like it again. Re the highlighted bit, that's an interesting point as I saw it for the second time on Saturday night - having not seen it in the previews for the first time but in mid October - and was thinking I didn't remember the bit with the furniture in Sally and Buddy's part of 'You're Gonna Love Tomorrow' when I first saw it. I thought I had just forgotten it but it was quite a memorable part this time round so it must have been something that's been added recently, which probably as you say resulted in them changing Margie and Sally in Buddy's blues to women. I did think it was a really great way of staging that part of the song so was a good addition. Can you remember how they staged that part of the song originally? Also I'm pretty sure I've heard before that directors aren't allowed to change any part of the production after press night, however they've clearly made considerable changes to the staging of two of the numbers here since then so is that not true? |
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Post by Deleted on Nov 27, 2017 1:08:46 GMT
Went back for a second viewing on Friday and it's as good as it was at the first preview, although there have been a few changes in the staging. They have cut the bolero dance 'Bolero D'Amour', Solange (who is still the weakest link) now starts her number on the fire escape stairs, The Loveland section use to have a curtain pulled round after each number, which left too long of a pause between each song, has been replaced with a drop down that speeds things up. 'You're Gonna Love Tomorrow' now has the male ensemble bring on prop furniture during the number, and pulling focus by camping it up as they went off! I wonder if that was why Margie is now female, so they could use the boys in this.
The biggest change was during Ben's breakdown at the end. At the preview it was just Ben and Phyllis on the stage, but now the entire cast come on stage and stand around him. Because I was in the circle i was able to see it all, but if you were in the first few rows, i doubt you would have been able to see through everyone. Imelda Staunton was excellent and looks like a tiny Polly Pocket from upstairs. Janie Dee sounded like she might have been having a few issues vocally, her Phyllis seems to be quite bitter from the moment she comes on stage and didn't really leave her anywhere to go, so it seemed a bit the same all the way through. Still, it is a fantastic production and doubt i'll see a Follies production like it again. Re the highlighted bit, that's an interesting point as I saw it for the second time on Saturday night - having not seen it in the previews for the first time but in mid October - and was thinking I didn't remember the bit with the furniture in Sally and Buddy's part of 'You're Gonna Love Tomorrow' when I first saw it. I thought I had just forgotten it but it was quite a memorable part this time round so it must have been something that's been added recently, which probably as you say resulted in them changing Margie and Sally in Buddy's blues to women. I did think it was a really great way of staging that part of the song so was a good addition. Can you remember how they staged that part of the song originally? Also I'm pretty sure I've heard before that directors aren't allowed to change any part of the production after press night, however they've clearly made considerable changes to the staging of two of the numbers here since then so is that not true? I'm pretty sure there was no furniture in previews. I think it was an empty space. I know they used the balcony to dance on, but now i cant even remember if they used the balcony on Friday, because i was too focused on the camp guys moving the furniture, especially the guy pushing the drinks trolley around! Can anyone else who's seen it since previews remember? I also wonder why they brought on all the cast for Ben's breakdown... it didnt really add much. |
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Post by Deleted on Nov 27, 2017 10:06:13 GMT
I don't know if it's that directors aren't allowed to change things after press night so much as there's not really much point. The critics will have been in, so any changes can only be for the satisfaction of those involved. Although the word of mouth may be improved, the critical voices will have spoken on what they've seen before the changes. Mind you, have they *really* changed it? If "Margie" and "Sally" are still doing exactly the same stuff, just played by different cast members, then one could argue that it doesn't really count as a change, just a reallocation of cast. And that's DEFINITELY allowed after press night, otherwise you wouldn't have understudies and shows would have to close the second any cast member decided to leave.  |
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Follies
Nov 27, 2017 15:33:23 GMT
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Post by karloscar on Nov 27, 2017 15:33:23 GMT
Ethel Merman famously said "call me Captain Birdseye, this show is frozen!" when the creative team tried tinkering with one of her shows after opening night. Not many stars have that power nowadays, and many directors will make adjustment s to productions well after press night. There are always things that never quite get fixed in previews, so why not sort them when the pressure's off?
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Post by Deleted on Nov 27, 2017 16:10:05 GMT
Ethel Merman famously said "call me Captain Birdseye, this show is frozen!" when the creative team tried tinkering with one of her shows after opening night. Not many stars have that power nowadays, and many directors will make adjustment s to productions well after press night. There are always things that never quite get fixed in previews, so why not sort them when the pressure's off? Isn't that also because The Merm was famous for knowing her role and how she was going to sing it inside out from the beginning and no matter how much someone tried to tinker with it, she just knocked her performance out night after night after night after night . . . . |
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Post by sf on Nov 27, 2017 16:31:20 GMT
I also wonder why they brought on all the cast for Ben's breakdown... it didnt really add much. Not that Dominic Cooke has slavishly followed the printed stage directions elsewhere, but it's written into the script that the entire cast is onstage for Ben's breakdown. If anything, at the preview I saw, the chaos section at the end of 'Live, Laugh, Love' didn't go on for quite long enough. From page 104 of the original 1971 published script: (The Follies drops begin to rise, and bit by bit we're back on the stage of the Weismann theater. Not literally, however. We're inside BEN' s mind, and through his eyes we see a kind of madness. Everything we've seen and heard all evening is going on at once, as if the night's experience were being vomited. Ghosts, memories and party guests - all there. They stand on platforms which are moving insanely back and forth, they mill about the stage, and all of them are doing bits and pieces of their scenes and songs. And through it all, downstage, BEN' s chorus line continues dancing. The cacophony is terrible, and we can barely hear BEN as he races from one group of people to another screaming.)
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Post by Deleted on Nov 27, 2017 18:35:20 GMT
Ethel Merman famously said "call me Captain Birdseye, this show is frozen!" when the creative team tried tinkering with one of her shows after opening night. Not many stars have that power nowadays, and many directors will make adjustment s to productions well after press night. There are always things that never quite get fixed in previews, so why not sort them when the pressure's off? Err, that will be Miss Birdseye, Captain Birdseye is whole other kettle of fish.... |
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Post by anthony40 on Nov 27, 2017 19:42:24 GMT
I know it's short notice however for anyone in London who may have missed the NT screening on 16th of this month there is an encore screening tomorrow night at the Regent Sreet Cinema at 7pm
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