|
|
Post by Deleted on Nov 19, 2017 20:47:05 GMT
I like The Other Palace, and I used to like the St James’. It’s smart, there’s always a well behaved crowd there, and I like the opportunity to see lots of shows I might not otherwise see in the West End. For this I can even put up with the bolt-upright seats offering the teeniest space for my little legs. (I have no idea how some people survive a whole performance in them...)
But I’m afraid I couldn’t warm to Big Fish.
I can’t put my finger on it. I can’t work out whether, being right down the front, I was completely distracted by Kelsey Grammer’s feet (worth a Google), whether I was disappointed that Matthew Seadon-Young (brother in the audience today) wasn’t wearing a vest, or whether I couldn’t believe that Clare Burt only had one song in the show.
I didn’t know the film at all, but I found the story unengaging, the songs rather bland, and the overall design in shades of pastel greens and blues plain wishy-washy.
I enjoyed the performances, everyone was in great voice, and yes, I did shed a tear at the end... But it was no standing ovation from me amongst the throng on their feet (the cynic in me reckons that quite a few of the punters had got in for free today...)
I’m glad I went, and it was a pleasant way to spend a Sunday afternoon, but I agree with many on here that it just slips through the net.
|
|
617 posts
|
Post by loureviews on Nov 19, 2017 21:54:49 GMT
Review ported over from my blog (and I didn't get a freebie, and I did do a standing ovation, as did my hard-to-please husband).
----
Over at the rebranded The Other Palace (formerly St James’ Theatre), something rather magical is going on, with a bit of Broadway pizazz in this show of tall tales, misunderstandings, loss, redemption, daffodils, and fish.
Kelsey Grammer has been imported from the US to make his London stage debut in Andrew Lippa’s musical, itself based on the screenplay for the film (starring Albert Finney) written by John August, itself based on a novel by Daniel Wallace.
Edward Bloom is introduced at his straight-laced son’s wedding, shortly after they’ve been fishing. He’s been cautioned not to share his ‘stories’ or even make a toast, but of course, he doesn’t listen. Quickly, though, we realise that all is not well and that his son Will (Matthew Seadon-Young) will have to make sense of the man who he regards as a stranger and who is starting to slip away.
While Edward slips in and out of consciousness, with his loving wife Sandra (Clare Burt) and new (and pregnant) daughter-in-law Josephine (Frances McNamee) close by, we meet his young self (Jamie Muscato) and follow him on wild adventures with a witch (Landi Oshinowo), a giant (Dean Nolan), and a circus supremo (Forbes Masson), as well as young Sandra (Laura Baldwin). These boast bizarre and big song and dance numbers – often pastiches – while the real-time/life scenes are more of the ballad type. Little Will is present for most of the time, too, and was played by Colby Mulgrew at the performance we saw; he reacts to the fun and the sadness around him and pulls us in.
The set is simple enough, utilising sound effects and video projections to give us a sense of where we are, when outside the hospital ward. A lovely act one closer gives us a stage full of daffodils, which were always Sandra’s favourite flowers, although we might not quite believe the story of how the young Edward and Sandra met.
Some commentators on this show have scoffed at reports of audiences being moved by events as they unfold, but certainly at the evening performance I attended there were quite a few people dabbing their eyes, and rightly so, as the final scenes are deeply moving, and the effectiveness of this has to be laid at the door of director Nigel Harman and star Kelsey Grammer, who is simply superb in both the humorous and tragic scenes, as well as throwing himself into the boisterous song routines.
Incidentally, front row ticket holders may well get a closer encounter with Grammer than you might have bargained for, which was amusing in itself. There’s some doubling of roles in a hard-working cast, with Oshinowo and Masson portraying two characters, while the smaller roles in ensemble are well-drawn. The fantasy sequences are great, and Burt is quietly wonderful in a role which might have misfired, as is McNamee. I found Muscato had a lot of charm as young Edward, although it’s hard to think he grew up to turn into Frasier (still Grammer’s best-known role, and despite best efforts he doesn’t quite shake off memories of Seattle’s finest).
If you want something which is ‘flipping’ marvellous, with a ‘sole’ and a good line in ‘cod’ philosophy, then make your way to The Other Palace for this short run; it is well worth your time and is definitely the ‘plaice’ to be.
|
|
1,502 posts
|
Post by foxa on Nov 22, 2017 10:51:18 GMT
Like loureviews above - we were moved by this.
Despite its flaws - and there are many (the first ten minutes feel shaky and there is a very important plot point in the second half that simply didn't make sense to us) - this is a big-hearted show performed by a talented cast.
There are some stand out numbers/scenes (the circus, Red White and Blue) and then the last five minutes pack a real emotional wallop (there were gulping tears all around us and an almost full standing ovation at the end.)
As a side point, we were celebrating last night so treated ourselves to a meal at the theatre restaurant, The Other Naughty Pig, at the Other Palace. It serves sharing plates, the service is good (and very French) and it takes away the stress of a pre-theatre meal. The wine was only so-so, but the food was excellent.
|
|
3,057 posts
|
Post by ali973 on Nov 22, 2017 22:47:15 GMT
I'm rephrasing, but Hal Prince once said that in order to have a good musical, you need to have a musical you'd want to look at. To top that- one of the golden rules of musicals is to introduce your song as soon as possible, and not have to wait over 20 minutes for someone to sing. I suppose the singing is delayed to cram in as much "comedy" and material as possible for Kelsey Grammar. Luckily for him, the audience is on his side from the beginning and were happy to laugh along. When we finally get the number, it's Mr. Grammar, one of the weakest singers in the cast, who gets the first jab at a e terrific score (the only good thing about this production).
The entire piece is drab with no sense of excitement or theatre magic in the tales Edward Blooms shares. The entire set is a hospital room and emergency ward that is repurposed to accommodate to Edward's supposedly wild imagination, that only takes shape and form through Microsoft office screensaver. Not sure what the director did during development, because the entire thing was imagination free and with blocking that could be topped by high school productions. Some of the costumes were painful, especially the green ones that looked like Wicked's Emerald City costumes.
Kelsey Grammer was pretty good, though unnecessarily paired with the Jamie Muscato, who has a great voice and will get bigger and better roles in the future. I feel that the entire book was rewritten and split into old/story characters to accommodate to a star. Clare Burt is a fabulous actress, and her "I Don't Need A Roof" was wonderfully performed, if not well sung. Keeping my eyes on Tanisha Spring (Young Jenny). She's cute, got a voice, and killer abs. Forbes Masson was terrific and a standout comedian that made the most with the little he had to work with.
Missed opportunity.
|
|
|
|
Post by Deleted on Nov 22, 2017 22:57:50 GMT
I feel like my thoughts on the first preview may of skewed some peoples impressions of this going into it.  |
|
677 posts
|
Big Fish
Nov 23, 2017 0:02:06 GMT
via mobile
Post by westendcub on Nov 23, 2017 0:02:06 GMT
I feel like my thoughts on the first preview may of skewed some peoples impressions of this going into it. Not at all, it’s my best musical of the year & shaping up to be the best of the year (I loved ‘A Christmas Carol’ last night which is another 2017 highlight) but ‘Big Fish’ was magical & moving..blew the park of most musicals in its emotional beauty!! |
|
835 posts
Member is Online
|
Post by stuartmcd on Nov 23, 2017 0:25:55 GMT
I saw it tonight and thought it was wonderful though there was definitely a sense of them being on a budget and having to think creatively to use fewer cast members and sets. But what was delivered was quite charming. The costumes used in the story element being made from things from the hospital was a nice touch. For instance a jocks football sweater made from a nurses scrubs. It's a bizarre story but one that they adapted well and they managed to keep the focus on the father/son relationship even with all the weird stuff happening around them.
|
|
91 posts
|
Post by gazzaw13 on Nov 23, 2017 13:56:35 GMT
This is truly a critic proof show. Despite mediocre reviews the house is full most nights and on both occasions I've been, the audience rose for a spontaneous standing ovation. Yes it's corny and sentimental but Kelsey has amazing stage presence and the other lead cast members are excellent. A really enjoyable evening but maybe not for pretentious critics.
|
|
1,306 posts
|
Post by londonmzfitz on Nov 23, 2017 14:09:17 GMT
I saw Big Fish almost 2 weeks ago. I’ve been composing my thoughts ever since, wanting to give a bit of space and time to examine my reactions to the show. Firstly, I’d describe it as a story with music, rather than a musical. Its not as if the music is the main thing in this, with a bit of a story woven around it, it’s a simple love story with songs and music in place to enhance the emotions.
I’d booked back in the summer when tickets when tickets first went on sale. There’s a story that I’ll try to make short; the night I went would have been my 29th wedding anniversary if the b*st*rd husb*nd hadn’t bailed a couple of months after 23rd wedding anniversary. I usually book a ticket for that date rather than sit home and fester. Not knowing the story to Big Fish, this wonderful man and the all-encompassing story of his love for his wife, for his son, is it any wonder I was reaching for tissues almost as the lights went down for the second act ….. for certain, my emotions have coloured my opinions of a show that so many here seem, apparently, to have found mediocre.
So, two weeks on I’m happy to state I thought it was wonderful, poignant, delightful. I found it beautifully acted. I laughed a lot at the comedy, the “Dad’s” speech at the beginning, several points through the show. “Red White and True” was great. “Daffodils” was lovely. Terrific acrobatics with hoops! And yeah, I was a big blubby thing by the end.
|
|
|
|
Post by Mr Snow on Nov 23, 2017 15:05:16 GMT
As a side point, we were celebrating last night so treated ourselves to a meal at the theatre restaurant, The Other Naughty Pig, at the Other Palace. It serves sharing plates, the service is good (and very French) and it takes away the stress of a pre-theatre meal. The wine was only so-so, but the food was excellent. Agreed. Particularly the more 'startery' ones. There was a yummy salad (hard to make that sound exicitng) and a great Crab dish. |
|
|
|
Post by Deleted on Nov 23, 2017 15:25:47 GMT
Agreed. Particularly the more 'startery' ones. There was a yummy salad (hard to make that sound exicitng) and a great Crab dish. Don't talk to me about that. I had the crabs at The Other Palace once. That's the last time I let Andrew Lloyd Webber take me out to dinner. The lascivious creature. |
|
1,210 posts
|
Post by musicalmarge on Nov 24, 2017 0:53:25 GMT
Saw this tonight. What a journey it takes you on.
It lacks a brilliant score (some of the songs are a miss) but Time Stops and Daffodils were heaven.
I sobbed like a baby at the end. The worst I’ve ever been in a theatre.
What an ending, great story telling and performances. I just wish some of the score had been better.
How odd that there is no song at the beginning of act one and the first one is bad! Some work is needed but I loved it still. Four stars from me.
|
|
1,210 posts
|
Post by musicalmarge on Nov 24, 2017 1:10:27 GMT
These reviews are ridiculous. There’s Viva Forever and Stephen Ward and this. Sure the costumes were naff and not all the songs were great but the entire audience was crying at the end. The journey you are taken on is very special. London jobsworth, miserable, left wing, musical hating, feminist, over thinking, academics with often their own social agenda or insecurities should not review musicals - it just doesn’t work and they are never going to love what many of us cherish and adore. |
|
|
|
Post by Mr Snow on Nov 24, 2017 6:36:41 GMT
These reviews are ridiculous. There’s Viva Forever and Stephen Ward and this. Sure the costumes were naff and not all the songs were great but the entire audience was crying at the end. The journey you are taken on is very special. London jobsworth, miserable, left wing, musical hating, feminist, over thinking, academics with often their own social agenda or insecurities should not review musicals - it just doesn’t work and they are never going to love what many of us cherish and adore. But then we are lucky to have you to balance things, clearly you are a man with no chips on his shoulders... |
|
227 posts
|
Post by ukpuppetboy on Nov 24, 2017 9:15:38 GMT
Well I'm a proud "leftie" (Corbyn fan not hander) and I loved the show last night.
After seeing Aladdin on Tuesday evening it was a breath of fresh air to see a film adaptadtion that had been beautifully crafted into an even more beautiful musical - and not lazily thrown on stage like the fayre at The Prince Edward.
Yes, the design isn't amazing (though I thought it fine - again, no where near as offensive as what Bob Crowley's team overspent and under delivered for Disney), and the songs, while I remember loving them as they were happening were, for the most part forgettable after the applause. But for the book, adaptation and perfomances (from Kelsey Grammer down) were first rate and made for an unexpectedly gorgeous night at the theatre.
|
|
|
|
Post by profquatermass on Nov 30, 2017 8:02:41 GMT
These reviews are ridiculous. There’s Viva Forever and Stephen Ward and this. Sure the costumes were naff and not all the songs were great but the entire audience was crying at the end. The journey you are taken on is very special. London jobsworth, miserable, left wing, musical hating, feminist, over thinking, academics with often their own social agenda or insecurities should not review musicals - it just doesn’t work and they are never going to love what many of us cherish and adore. So you would prefer musicals to be reviewed by country-dwelling Tories who don't believe women should have the vote? That would ensure they had a finger on the pulse of West End audiences. |
|
1,210 posts
|
Post by musicalmarge on Nov 30, 2017 10:09:21 GMT
My point is that Dogfight at the Southwark Playhouse was slated beyond belief by some feminist reviewers and I thought it was one of the best musicals I’ve ever seen in my life.
I would like to know the success of Les Mis and Miss Saigon if they opened and were reviewed today with the same PC crowd obsessed with misogynistic messages, debates and themes in stage shows. Young Frankenstein had the same issue with negative reviews commenting on sexism recently as did Half a sixpence for simply having an all white cast.
I really do believe that some mainstream reviewers from today’s media hate musicals and go in to theatre shows ready to destroy the shows they see because of political, social and emotional hang ups.. Most of us here just enjoy them for what they are - wonderful storytelling and entertainment we all cherish and love. The reviews towards Big Fish missed the mark in so many ways.
|
|
|
|
Post by Deleted on Nov 30, 2017 13:29:20 GMT
There is a man yelling at the staff her saying the name of the theatre is stupid.
|
|
1,481 posts
|
Big Fish
Nov 30, 2017 14:05:28 GMT
via mobile
Post by steve10086 on Nov 30, 2017 14:05:28 GMT
There is a man yelling at the staff her saying the name of the theatre is stupid. He has a point!  |
|
|
|
Post by Deleted on Nov 30, 2017 15:31:17 GMT
There is a man yelling at the staff her saying the name of the theatre is stupid. I promise it's nothing to do with me, and there is never any reason to yell at a member of staff (unless I guess they've wilfully endangered you or something), but he's got a point. He's expressing it in an inexpressibly rude fashion and to completely the wrong person, but it is a stupid name. |
|
|
|
Big Fish
Nov 30, 2017 15:55:47 GMT
via mobile
manu likes this
Post by Deleted on Nov 30, 2017 15:55:47 GMT
Goddamn it, what is it about this show that makes me do damn emotional! That Act 1 Finale is just something else, half the front section were crying their eyes out, myself included!
|
|
|
|
Post by Deleted on Nov 30, 2017 17:48:41 GMT
I'm not the only one who cried uncontrollably at this am I?! Like, I cried more the second time!
|
|
1,970 posts
Member is Online
|
Post by sf on Nov 30, 2017 18:59:04 GMT
I would like to know the success of Les Mis and Miss Saigon if they opened and were reviewed today with the same PC crowd obsessed with misogynistic messages, debates and themes in stage shows. 'Les Mis' opened in London in 1985 to famously terrible reviews. Pretty much all the major critics hated it. |
|
1,210 posts
|
Big Fish
Nov 30, 2017 23:49:42 GMT
via mobile
Post by musicalmarge on Nov 30, 2017 23:49:42 GMT
I would like to know the success of Les Mis and Miss Saigon if they opened and were reviewed today with the same PC crowd obsessed with misogynistic messages, debates and themes in stage shows. 'Les Mis' opened in London in 1985 to famously terrible reviews. Pretty much all the major critics hated it. This I know - but they were negative because of the musical itself. This is quite different. None of the reviews I’m sure were negative because of the themes of prostitution in either or the sexualisation and abuse of women etc... My point is that many left wing, feminist or PC reviewers have a different narrative than they did two decades ago and I think (as in the case of Dogfight and Half a Sixpence-gate) is detrimental to the reviews they give. |
|
1,970 posts
Member is Online
|
Post by sf on Dec 1, 2017 0:08:09 GMT
'Les Mis' opened in London in 1985 to famously terrible reviews. Pretty much all the major critics hated it. This I know - but they were negative because of the musical itself. This is quite different. None of the reviews I’m sure were negative because of the themes of prostitution in either or the sexualisation and abuse of women etc... My point is that many left wing, feminist or PC reviewers have a different narrative than they did two decades ago and I think (as in the case of Dogfight and Half a Sixpence-gate) is detrimental to the reviews they give. Did the reviews of the revival of Miss Saigon operate the way you suggest? (I'll give you a little hint: no, they didn't.) |
|
