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Post by Deleted on Sept 21, 2016 14:40:24 GMT
raiseitup had this list, earlier in this thread, put together from programme notes and memory. Act 1 Weatherman Intro There Will Be Sun Small Town Punxsatawney Phil Rita's Notes #1/#2 Stuck Nobody Cares One Day Act 1 Finale Act 2 Entr'acte Playing Nancy Hope If I Had My Time Again Night Will Come Tap Number Punxsatawney Phil (Reprise) Seeing You Heaven knows what all the songs are actually called, and to what degree the various reprises are considered their own number or part of larger numbers, but that's a damn fine list to kick off with. I expect it will all come clearer once we have a cast recording (GET ME A CAST RECORDING) or even a Broadway Playbill.
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Post by londonmzfitz on Sept 21, 2016 15:19:59 GMT
Thank you Baemax and Raisitup, don't know how I missed this.
Wow. The difference between seeing the show for the first time when I couldn't tell you any of the songs, to now when I just read a title - If I Had My Time Again - and there it is in my head spinning round. Nooooo-nobody cares nobody cares ... man.
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Post by will on Sept 21, 2016 17:00:27 GMT
{Spoiler - click to view}
Is the doctor song called "Stuck" or is that a separate song? |
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Post by ali973 on Sept 21, 2016 19:05:22 GMT
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Post by Deleted on Sept 21, 2016 20:08:21 GMT
will, I believe it's the same one. 
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Post by catqc on Sept 21, 2016 21:28:40 GMT
I have a question that I've always wondered about the film and now the show too. What is the purpose of the old man whose life Phil is unable to save?
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Post by andrew on Sept 21, 2016 21:41:22 GMT
I have a question that I've always wondered about the film and now the show too. What is the purpose of the old man whose life Phil is unable to save? My interpretation was that whilst Phil slowly betters himself, and finds ways to help more and more people each day, there are some problems you can't fix, some people you can't help. |
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Post by kathryn on Sept 22, 2016 8:10:13 GMT
Yes, Phil has to learn he's not actually a god.
Also the larger theme is the inevitability of mortality for us all.
'You gotta love life, you gotta love life, you gotta love liiife.....'
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Post by Deleted on Sept 22, 2016 9:10:40 GMT
Although as we have no idea why this happened and no one's ever taken the time to explain it, there's a decent chance that none of it actually means anything.  |
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Post by will on Sept 29, 2016 9:26:57 GMT
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Post by Stasia on Sept 29, 2016 9:35:46 GMT
Just wondering: what i so unusual in a sitzprobe taking place with microphones? This is how they do take place, otherwise people won't be able to hear themselves and how the voices go with orchestra. |
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Post by firefingers on Sept 29, 2016 9:41:32 GMT
The microphones will be so everyone can hear each other, not for recording purposes. Live recordings of shows are now made on pretty much every reasonably sized musical at the sound desk so the sound team can practice without having to pay thousands to call the cast and band in. So recordings exist that could be turned into a consumer product in a couple of weeks. The producer doesn't want them released. With Broadway now pretty much certain to happen, and Americans reluctant to buy London cast recordings, I'd say it was very likely that the US cast gets the recording.
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Post by Deleted on Sept 29, 2016 9:41:52 GMT
I only perform on an amateur level, but we've never had microphones for the sitzprobe. It's more for us to hear the actual orchestrations (and the orchestra to hear what we do) than to fret about sound balance and the like. I freely admit that I don't know how professional productions function so the microphone could be a matter of course for them, but having read articles about the cost of musical theatre microphones, I wouldn't be surprised to hear that they too don't bother with microphones for the sitzprobe.
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Post by partytentdown on Sept 29, 2016 9:55:26 GMT
You wouldn't release a recording of a sitzprobe - they are usually rushed and not in studio-quality conditions.
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Post by Nelly on Sept 29, 2016 10:25:32 GMT
I only perform on an amateur level, but we've never had microphones for the sitzprobe. It's more for us to hear the actual orchestrations (and the orchestra to hear what we do) than to fret about sound balance and the like. I freely admit that I don't know how professional productions function so the microphone could be a matter of course for them, but having read articles about the cost of musical theatre microphones, I wouldn't be surprised to hear that they too don't bother with microphones for the sitzprobe. Microphones during big professional sitzprobes are pretty common in my experiences anyway. |
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Post by firefingers on Sept 29, 2016 10:33:53 GMT
I only perform on an amateur level, but we've never had microphones for the sitzprobe. It's more for us to hear the actual orchestrations (and the orchestra to hear what we do) than to fret about sound balance and the like. I freely admit that I don't know how professional productions function so the microphone could be a matter of course for them, but having read articles about the cost of musical theatre microphones, I wouldn't be surprised to hear that they too don't bother with microphones for the sitzprobe. For the shows I've done, about 80% want mics for the sitz. Now it isn't about balance, it is so that the MD can hear any dialogue that might have a vamp under it so they can hear their cue out of it, or if the underscore is a set length they can check the dialogue does fit with the tempo and orchestration (drum solo over a whispered line ain't gonna go well). If the MD can hear the vocal, they can check the cast are getting the information they need. If a performer came in at the wrong time or on the wrong note, without the mics the MD might well not hear it, but with mics they would and then they find out why and sort out the issue. Sitzs don't use the usual musical theatre microphones for vocals (which are indeed eye wateringly expensive), but use a couple of far cheaper vocal mics on stands, with performers battling to get in close for their "bits". One reason why is cost, but another is those mics don't take much "looking after", just switch them on and leave them, so the sound team can actually listen to the music and figure out where to push and pull what instruments. |
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Post by will on Sept 29, 2016 13:22:33 GMT
The microphones will be so everyone can hear each other, not for recording purposes. Live recordings of shows are now made on pretty much every reasonably sized musical at the sound desk so the sound team can practice without having to pay thousands to call the cast and band in. So recordings exist that could be turned into a consumer product in a couple of weeks. The producer doesn't want them released. With Broadway now pretty much certain to happen, and Americans reluctant to buy London cast recordings, I'd say it was very likely that the US cast gets the recording. Thank you firefingers, I didn't know that this was a common practice - I guess it makes sense now the excited rush of potential recordings has been flushed away by the harsh truth of your final sentence. Sigh, I loved how that cast came together. I only perform on an amateur level, but we've never had microphones for the sitzprobe. It's more for us to hear the actual orchestrations (and the orchestra to hear what we do) than to fret about sound balance and the like. I've never even performed at a Sitzprobe ever, so it's interesting to hear how hobbyists manage it. I guess that microphones work for everyone in the sense that the directors can hear a balanced out version of the music and dialogue, sound designers can adjust everything accordingly, the cast get used to the orchestra, and the orchestra get used to the cast. You wouldn't release a recording of a sitzprobe - they are usually rushed and not in studio-quality conditions. Yeah, I don't think they would have either on second thought, but my little heart wants them to have returned to that audio booth and recorded something. But it's interesting that you say they are rushed - I would have imagined the opposite as all the crew work out every last detail. For the shows I've done, about 80% want mics for the sitz. Now it isn't about balance, it is so that the MD can hear any dialogue that might have a vamp under it so they can hear their cue out of it, or if the underscore is a set length they can check the dialogue does fit with the tempo and orchestration (drum solo over a whispered line ain't gonna go well). If the MD can hear the vocal, they can check the cast are getting the information they need. If a performer came in at the wrong time or on the wrong note, without the mics the MD might well not hear it, but with mics they would and then they find out why and sort out the issue. Sitzs don't use the usual musical theatre microphones for vocals (which are indeed eye wateringly expensive), but use a couple of far cheaper vocal mics on stands, with performers battling to get in close for their "bits". One reason why is cost, but another is those mics don't take much "looking after", just switch them on and leave them, so the sound team can actually listen to the music and figure out where to push and pull what instruments. You learn something new everyday - thank you for the helpful insight! |
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Post by raiseitup on Oct 19, 2016 15:08:59 GMT
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Post by Deleted on Oct 19, 2016 16:18:46 GMT
Excellent news! He was terriffic in the role, hoping it will be third time lucky for him at the Tonys next year (and the Oliviers)! They've also released some new artwork...  Think I actually prefered the yellow background, pink and blue colour scheme. This somehow makes the Groundhog look a bit evil! |
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Post by charliec on Oct 19, 2016 16:25:14 GMT
Excellent news! He was terriffic in the role, hoping it will be third time lucky for him at the Tonys next year (and the Oliviers)! They've also released some new artwork... Think I actually prefered the yellow background, pink and blue colour scheme. This somehow makes the Groundhog look a bit evil! I like the font, but yes, I sort of miss the yellow and pink! |
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Post by wickedgrin on Oct 19, 2016 16:33:23 GMT
Yes,they have changed the artwork completely! I wonder why? Not sure I like the new version!
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Post by Deleted on Oct 19, 2016 17:04:18 GMT
I hated the yellow and pink!
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Post by Deleted on Oct 19, 2016 21:18:44 GMT
I think the groundhog *is* evil. I know in the film the whole thing is left completely unexplained, but in the show, I felt very much that the groundhog was responsible.
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Post by Hamilton Addict on Oct 19, 2016 21:37:19 GMT
I think the groundhog *is* evil. I know in the film the whole thing is left completely unexplained, but in the show, I felt very much that the groundhog was responsible.  |
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Post by Deleted on Oct 20, 2016 7:37:54 GMT
I think the groundhog *is* evil. I know in the film the whole thing is left completely unexplained, but in the show, I felt very much that the groundhog was responsible. That little fella was behind it all I have no doubt. Evil I tells ya. Evil. (though he is a good drummer, I'll give him that) |
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