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Post by jgblunners on Feb 23, 2017 0:09:59 GMT
Wow. What an amazing production - I loved every second of this tonight. An outstanding cast, brilliant design and chaotic, energetic, raunchy choreography. Drew McOnie has outdone himself with both the direction and the choreography here, and the music is stunning. I can see why it might not be some people's cup of tea, but I thought it was the best production I've seen since Groundhog Day. Think I might have to make a return visit now that they've got those £10 tickets in the splash zone...
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Post by meisner on Feb 24, 2017 11:15:58 GMT
" This production does it full justice, and then some." Mallardo i couldn't Agree with you more. What a great review. Finally caught this show last night. One that i've been waiting for, for ages and it did not disappoint! The casting is superb. Probably its strongest point. Obviously there were some performances i liked more than the other but i thought all were faultless. The show is a strange one so i get how some people will like it and others won't. Its not your everyday Musical and the book is quite weak but the cast filled in the holes for me and i was a very happy bunny! The music is fabulous. Love that Jazzy score and it is well sung by each member. The set is exactly how i wanted it to be ...Cotton club meets beat up New York Apartment with the smoky lighting adding to its magic. For me Dex Lee, Lizzy Connoly and Steven Serlin and Sebastian Torkia stood out. The Jewish Producers Number in Act 2 was hysterical and my favourite of the night...Was very impressed with JOJ as Burrs as well.....We all know he can sing but his acting was impressive as well. So as you can see its a 5 star for me. Go see it! |
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Post by Deleted on Feb 26, 2017 14:12:29 GMT
Went to this with an open heart yesterday, not really knowing what to make of the mixed reviews on here.
First impressions were good- the lobby has been given a funky makeover, and we had a peep upstairs at the new eatery, The Other Naughty Piglet which looks well worth a try on another visit.
The set looked delicious- a bare striped floor, an arc of vaudeville lights, and the band (and what a band!) set high above the stage (is it only me that loves to see the band as well as hear them?) But I’ve been tricked like this before: a great set doesn’t necessarily mean a great show…
Oh but this one was!
Congratulations to The Other Palace for managing to lure a heap of triple threat talent onto the same stage at the same time. It was an unbelievable pleasure to witness Donna McKechnie given the chance to dance again. And then we had Frances Ruffelle once again strutting her sultry stuff, John Owen Jones proving he was more than a chandelier-wielding, repentant bread thief, and Victoria Hamilton-Barritt thrilling and scaring the life out of us, a cross between Cruella Deville and Lesley Joseph minus her Anton.
This was one hell of a party, reminding me intermittently of Grand Hotel, Rodney Ackland’s Absolute Hell and just a sprinkling of Chicago. And from the off we know it’s only going to end in tears. Only Dolores, seemingly out of place because of her age, can see what’s going to happen, but in this hotchpotch of characters full of their own Look At Me attitude no-one is going to take any notice.
So the party rumbles on- a relentless, frenetic jazzy score playing all the way to the Act One finale. I just wanted to get up on that stage and bounce up and down on that bed with them all!
I have to admit that I’m rather taken with Young Mr McOnie’s skills- I loved what he did with the choreography for the open-air Superstar last summer- and here he manages to add his own distinctive but unpredictable style into this incredibly stylish, classy production. He creates a vast array of shapes and silhouettes- Kate smoking her cigarette up high on a balcony is caught in a shaft of light, Queenie and her mate dance as couples do in the privacy of their bedroom, and he conjures up of a moment of sheer menace from a single white-gloved hand which appears from behind a pillar. Burrs’ sinister Mr Cellophane is not about to be looked right through…
I loved the casting of the two women as ‘brothers’ (perhaps because it reminded me of an antique shop I once lived next to, run by twins who were ‘brother’ and sister) and I loved Black, who is white and who wears nothing but.
White light works it magic too, in as many forms as you can shake a stick at, from above, out front and behind, bathing the stage in strong, cold, warm and muted tones.
Like any party, there’s no one story, there are lots of stories just desperate to be told, and that’s exactly what we get here. But the tie that binds them all seems to be that everyone is covering up that part of themselves they can do without. With make-up, with bandages, with a name...
I’m glad I invited myself to this one. It was so good, I even managed to forget how uncomfortable the seats are!
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Post by Deleted on Feb 28, 2017 4:18:56 GMT
Never went to the St James, but I was drawn to The Other Palace by the new policy of chamber musicals. This theatre seems ideal with its clear sightlines and its intimacy. And the production is brilliant, exploding in front of you like an intricate and complex machine. Bursting with characters, stuffed full of stories, interweaving, overlapping, mirroring, diverging.
I didn't know any of the performers but I still enjoyed it. They all make their impression on the strength of their performance in this show, without any prior familiarity with them. I felt that I could understand everything in the show dramatically, which I suppose is the sign of a strong musical and a good production. I wonder, will all the musicals in the Theatre be as strong as this one, with showings at early stages of development confined to the Studio?
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Post by horton on Mar 2, 2017 1:12:35 GMT
Let me confess from the outset that I consider The Wild Party to be one of the landmark musicals of the 21st Century. The score isn't always pretty, but it is intoxicating, sophisticated and true. Anyone who fails to hear the astonishing beauty and power in songs like Black is a Moocher and People Like Us, in my view, has cloth ears.
It's a little surprising that this title should be chosen to open a venue dedicated to "new" musicals- but it's a very welcome production and one that fires on almost every cylinder. As Mallardo pointed out, this cast is utterly astonishing, (I was totally owned by Tiffany Graves). The actors and excellent band are hard-working, focused and thoroughly interesting. The lighting is highly atmospheric and in the limited space the set evokes the right mood, (even though the banisters were of the wrong period).
I do have a few reservations, though. Despite all the gyrating, this is a surprisingly sexless show- there is little actual touching and very little heat between Queenie and Black. Similarly, there is no real chemistry between Burrs and Queenie and overall all the angst was only ever on the surface for the angry clown- John Owen Jones just didn't have it in his eyes even if he could hit the notes with power. There was no danger in his physicality.
Miss Ruffelle was game and looked a million dollars, but again, didn't really dig deep- it was a superficial and unconvincing performance.
In many ways it was a gripping show, though, with just the occasional mis-step: I am afraid the Brothers have to be male- the casting of women did not create a new daring revelation of trans-gender issues; it made the "adultery" with Jackie seem like a desperate longing for a more "conventional" heterosexual relationship- a wish to be "normal". That is not what that relationship is about.
On the whole, it's probably the best production we could hope for in the UK, but it's still a mere shadow of the original Broadway show.
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Post by mallardo on Mar 2, 2017 18:12:53 GMT
I went back to see this again today and loved it even more. It's the kind of show where so much is going on that one can see new things every time. This time I focused more on Frances Ruffelle and now regret my qualified praise of her earlier. I thought she was quite magnificent - a great acting performance as well as everything else. Her scenes with Black (the excellent Simon Thomas) were wonderful - together they really sold People Like Us. More return visits planned.
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Post by martin1965 on Mar 2, 2017 18:21:16 GMT
I went back to see this again today and loved it even more. It's the kind of show where so much is going on that one can see new things every time. This time I focused more on Frances Ruffelle and now regret my qualified praise of her earlier. I thought she was quite magnificent - a great acting performance as well as everything else. Her scenes with Black (the excellent Simon Thomas) were wonderful - together they really sold People Like Us. More return visits planned. Am going to the matinee this saturday, cant wait! |
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Post by djp on Mar 2, 2017 20:19:41 GMT
" This production does it full justice, and then some." Mallardo i couldn't Agree with you more. What a great review. Finally caught this show last night. One that i've been waiting for, for ages and it did not disappoint! The casting is superb. Probably its strongest point. Obviously there were some performances i liked more than the other but i thought all were faultless. The show is a strange one so i get how some people will like it and others won't. Its not your everyday Musical and the book is quite weak but the cast filled in the holes for me and i was a very happy bunny! The music is fabulous. Love that Jazzy score and it is well sung by each member. The set is exactly how i wanted it to be ...Cotton club meets beat up New York Apartment with the smoky lighting adding to its magic. For me Dex Lee, Lizzy Connoly and Steven Serlin and Sebastian Torkia stood out. The Jewish Producers Number in Act 2 was hysterical and my favourite of the night...Was very impressed with JOJ as Burrs as well.....We all know he can sing but his acting was impressive as well. So as you can see its a 5 star for me. Go see it! Agree with that. its a showcase for great casting - enough leading talent there for 3 or 4 shows. Bit worrying they were all free. There's two Tony winners showing why, Frances flirting with you, JOJ with a real menace from the start and a great vocal , Tiffany Graves looking, moving and sounding great, Melanie Bright acting her socks off, and sounding great, VHB giving superb vamp, the two impressarios providing the humour , the two mysterious dancers providing the commentary, and looking like two triple threats , plus a convincingly troubled boxer, and a convincing Mr Black. And they have two of the leading talents of their generation - in Bronte Barbe and LIzzy Connolly, proving how well they can sing, act, and dance - as the naive 14 year old and the aspirant American belle. Nice to see such a generational mix too - you learn a lot from watching people who have already mastered their art close up. My only quibble is that the music managed at some point to overwhelm some of the best vocals out there - apart from JOJ who could probably be heard in a hurricane if he wanted to.. |
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Post by mallardo on Mar 2, 2017 23:40:14 GMT
TM, I was in my usual spot in the middle of the front row. I can't believe I didn't see you! And vice versa. I was hanging out in the foyer pre-show and was back there at the interval. James Gant from Death Takes a Holiday was sitting directly behind me.
Sorry it wasn't your thing. It's obviously mine. And yes, Ms Ruffelle definitely still has it going.
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Post by mallardo on Mar 3, 2017 11:24:08 GMT
Well, if you're going to spend your foyer time "quietly reading" no wonder I missed you. But if you were in G1 I walked (or, rather, climbed) right past you. Sorry!
Re the spoilers I can't agree in either case - both actions are well set up over the course of the party, IMO.
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Post by Deleted on Mar 3, 2017 11:25:41 GMT
Odd that we missed each other, mallardo. I was in my usual G1, but was reading quietly in the corner by the piano before the show, then was outside for some fresh air at the interval. Didn't notice Mr Gant, but did had an American tourist sitting behind me, moaning about legroom and telling me he wished he'd "read that site that warns you about it" and bellyaching that he could see my seat had plenty of space. I think what got on my nerves most was they casually chucked in a really horrible rape and a murder about 10 minutes before the end, as if it was "oh, it's a dull show up to now, let's throw in some obvious drama... without any time to develop it or think about it, though." The fact she was 14 didn't help either. And the murder was just stupid - no motivation if they spent the whole show telling us that they loved each other really. Was it my imagination or did Ms McK at one point in he solo go all "What I Did For Love?" I could swear some of the notes she hit formed a small tribute to it at one point. {Spoiler - click to view}
I must admit, when the rape scene happened, I am rarely shocked in the theatre these days, but I was stunned. I couldn't quite believe what I was watching, and Bronte and Dex's acting made it all the more chilling. |
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Post by Deleted on Mar 3, 2017 11:36:18 GMT
I think you half expect it from the moment that the guests promenade into the party and are introduced.
I'm with Mallardo that the whole musical is intricately structured and is convincing in all its details.
I believed in the party and in all the characters and in the overall depiction of the theatrical world in that time and place.
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Post by Deleted on Mar 3, 2017 11:45:05 GMT
Looking back on it, yes it did seem somewhst obvious what was going to happen, especially the events in the second half. But jt still didn't stop it being shocking to watch, especially for how realistic events were portrayed.
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Post by jgblunners on Mar 3, 2017 12:13:46 GMT
I agree that the rape was absolutely chilling, it feels wrong to say but it was done brilliantly for maximum effect.
Interestingly, at the Q&A Drew McOnie and Paul Taylor-Mills were saying that originally, as it is in the libretto, Black is the one who shoots Burrs, but after a few previews they decided to change it to Queenie as they felt it was more fitting.
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Post by martin1965 on Mar 4, 2017 18:18:47 GMT
Saw the matinee today. Hmmmm bit of a mixed bag. Plusses, an amazing cast a privilege to see Donna McKechnie over here, Frances Ruffelle, JOJ and Ako Mitchell excellent. JOJ is new to me and he has a great presence and voice. Minuses no plot and the band who were all brilliant were over miked. Three and half stars from me.
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Post by mallardo on Mar 4, 2017 18:31:45 GMT
Not picking on you, Martin - several people have noted that there is no plot. But, of course, there is. After the prologue the show, the party, is played virtually in real time. People arrive bringing with them their own back stories all of which are aired. Things happen at the party, relationships form or are renewed. There are conflicts. There is violence. Life changing events occur. How is this not a plot?
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Post by martin1965 on Mar 4, 2017 19:17:36 GMT
Dont see im afraid, just have to agree to disagree, but as you can tell (i hope) i did quite like and i ought to add, a musical for grown ups!
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Post by zak97 on Mar 4, 2017 19:25:36 GMT
Also went this afternoon, and for me a solid 4 stars!
I will admit it did take a long time for me to warm to this, and at points I was thinking "do I want to leave during the interval?" The problem I was having was the real-time effect of the party, and whilst the backstories and character introductions were interesting I was worrying where the story was going, and if there would be any plot in Act 2.
However, the end of Act 1 got me, I thought the direction, orchestration and choreography worked brilliantly. That alone, and a few character remarks made me want to see what was going to happen.
Act 2, in my opinion, was brilliant. The plot stepped up a few gears, the characters had some dark material to work with, and for JOJ's character I was actually a bit scared - probably from being immersed from the front row.
I know some people above have been critical, but to newer readers I would urge you to give this piece a chance and sit through to the end. It is worth it in my opinion.
Fantastic costumes, fantastic lighting, great set.
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Post by Deleted on Mar 4, 2017 19:37:40 GMT
Am I the only one that found that just about halfway into the first act I was thinking "is this it, for the whole show?", not disliking it, but hoping more would happen, and then we meet VHB's character and it springs to life again?
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Post by Deleted on Mar 4, 2017 22:49:48 GMT
There's quite a lot of plot, do people mean something else instead? Action, maybe? The ensemble nature of the show means that there are multiple plots without a main one to latch onto, I suppose, with characters moving, at varying speeds through exposition onto conflict and beyond, obscuring the typical structure. One of the reasons that I think it needs no interval is that structure; the central party getting out of hand being the crucible that whips together all the disparate strands and individual desires for one moment, only for them to fly off in all directions once more.
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Post by couldileaveyou on Mar 5, 2017 17:57:50 GMT
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Post by djp on Mar 10, 2017 2:43:57 GMT
There's quite a lot of plot, do people mean something else instead? Action, maybe? The ensemble nature of the show means that there are multiple plots without a main one to latch onto, I suppose, with characters moving, at varying speeds through exposition onto conflict and beyond, obscuring the typical structure. One of the reasons that I think it needs no interval is that structure; the central party getting out of hand being the crucible that whips together all the disparate strands and individual desires for one moment, only for them to fly off in all directions once more. Interesting that the reviews tended to split between the theatre specific sites and the Stage who seem to really like this, and some newspaper critics who seem to have had difficulty following what was going on ,and claimed there was too much to follow. It pays to keep on scanning off the main action at any moment . there's usually two or more other parts of the story simmering to a boil while someone else has centre stage. |
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Post by HereForTheatre on Mar 14, 2017 17:42:41 GMT
If you haven't been to this yet or want to go again now is the time as the TheatreBoard Ticket Shop has some great discounts! March Offer: Now just £29.50, saving up to 55%! Some seats just £19.50! CLICK HERE FOR TICKETS! |
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Post by Deleted on Mar 20, 2017 9:01:29 GMT
TodayTix has a 24 hour offer - seats for £15 for all performances this week. Just had a look and was offered £45 seats in row F for £15. Plus £10 off available with my referral code SEZCE  |
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Post by djp on Mar 22, 2017 1:44:03 GMT
Really interesting djp, as many regular reviewers do just that - I know I do - mentally scanning the entire stage all the time rather than just focussing on the immediate. The fact you noticed the differences is fascinating. The side stories also seem to be more visible depending where you sit - this time i tried a left side on view - there's a better view of the raised level action, and you get more of Misses Barbe, Graves and Connelly. Its looking good, great reaction apart from a couple of people who vanished at half time. But they were sitting almost on a speaker - which brings us to - the downside is that some of the best singers in the WE are still being drowned out by the music volume being overly loud, too often. And that is worse if you sit on the sides, and near the front, where the speakers are. |
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