5,138 posts
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Post by TallPaul on Dec 1, 2017 13:30:25 GMT
The late, great John Noakes didn't polish it. He was dragged through it!
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Post by Deleted on Dec 1, 2017 15:03:26 GMT
Polished coprolites are a thing, so yes, you can.
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3,325 posts
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Post by Dr Tom on Dec 2, 2017 16:56:47 GMT
Managed to get a "Premium Seat" for one of the previews (not many others left). Overall impression, a much better production than it could have been. Barnum has a special place in my heart, as it is was one of the first shows I ever saw, around 25 years ago, with Andrew O'Connor as the lead (my main memories for that one were Andrew O'Connor being impressive and doing lots of stunts and this being a very visual production, but I remember very little about the plot, and only song that stuck in my mind was Black and White, being long and boring). I also saw the Brian Conley tour twice, enjoyed in, but it wasn't as I remembered it. I now realise that this had been substantially revised. The Menier production goes back to the original script, which is very different. The songs are moved around, some lyrics are different, the book is very different. Frankly, the newer version makes more sense. But, if you didn't already like Barnum, you're unlikely to like this one. The Menier production room has been opened up and this is performed in the round. It all looks much bigger than I remember in that format. There isn't much of a set, but there is a central round platform which is used. The staging in the round fits the circus theme, but also makes some of the viewing difficult. For instance (even from a premium seat), I know there was fire used at one point, but only because I could see the edge of it. Otherwise my view was blocked by cast members. The fire brings me onto the main problem. The room was bitterly cold, with no heating. From what I could hear, there was also meant to be music playing when the audience arrived, but this was broken. Fair warning. There is audience interaction, particularly with the front row. The ensemble came out about 5 minutes before the advertised start time (8pm). A few conjuring tricks (some went wrong, so still being worked on), juggling etc. They weren't particularly good at engaging the audience that night, but did, for instance, show each other their tricks. The show started properly about 8:05pm. The restaurant was really full, which I think explains the show starting slightly late. Staging was good, with some great acrobatics from the ensemble. The biggest problem in the space was the sound. The ensemble performing on the hard floor of the Menier was really noisy and it was hard to make out the words during the songs. If you don't know the story, you may struggle to follow this. I thought Marcus Brigstocke was excellent at involving the audience and very different to the other people I've seen play Barnum. He did a few conjuring tricks during the show and ad-libbed as needed. Not the best singing voice, but it isn't a role that needs a great singer. Laura Pitt-Pulford, I thought struggled with keeping the accent going, so it drifted in and out. Some good chemistry between the two leads. If I can single out members of the cast, Danny Collins and Dominic Owen came out during the interval to ad-lib for a few minutes. Both very funny, talking about empty seats (few), people leaving in the intermission (possibly read here - I didn't notice any on the night) and Danny doing some of his funny dancing. If that's a regular think, I suggest only taking a short interval break. The stunts didn't always go right. There were some acrobatic fails, falling off giant balls, balls being dropped when thrown around (which confused the cast with a then "invisible ball" in the sequence etc). Hopefully, that polish will appear during the run. The tightrope scene, unfortunately, failed as well. It is a very wide tightrope, just below waist height. A really tough ask, to both sing and walk the tightrope. The cast do wait crouched by the tightrope in case any help is needed. First go, Marcus got around one quarter of the way across before falling - and commented that this sometimes takes a few goes. To me, it looked as though this was meant to be an "almost fall". Second go, about half way. Marcus commented that it might be a while until the interval. Third go, only a quarter again. He jumped back further down and completed the rest of the walk holding onto a member of the cast (with a great round of applause for the showmanship). Finishing time was 10:15pm, so I imagine this will be over by 10:10pm when it's tightened up. So relatively short. And now, some spoilers. {Loud Noises Warning}Including this one based on the topic in the General Forum.
There is a Loud Noises warning, but this was quite a tame one.
A large Party Popper type device is fired during Black and White. Because of the angle, I didn't even notice it until it was fired.
(the loudest noises weren't planned - there were a few bangs during the show from backstage, presumably from items being dropped) {Talent Show Warning}Some members of the audience are "selected" to play Kazoos during Come Follow The Band.
As Marcus pointed out, he chooses the people who look away. {Sections Where The Audience Get Soaked Warning}Humbugged!
(unlike the recent tour, there is no water used in the Elephant scene) I did enjoy it, in a way that has a slight fun amateur edge to it. There really are some great songs, including One Brick At A Time, Come Follow The Band and Join The Circus. I'd be keen to go back towards the end of the run to see how it all looks when the kinks are ironed out. |
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1,345 posts
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Post by tmesis on Dec 2, 2017 19:02:47 GMT
I was at today's matinee and thought this the worst performance of a musical I've ever seen at the Menier (I've seen nearly all of them.) There were a few positives - a nice set and use of space, most of the minor roles were well taken; a brilliant Tom Thumb and Jenny Lind and Pitt-Pullford was excellent. But the production totally lacked zip. The circus stunts were laughably underwhelming, and the choreography was uninspired.
But the main problem was Marcus Brigstocke: no singing voice with a range of about four notes, little acting ability and zero charisma which could have made up for the other two deficiencies. He had no ability, even with the usual head mikes, to project his songs at all. Oh, and again he had three attempts at the tight rope and still failed
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243 posts
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Post by musicallady on Dec 2, 2017 19:40:35 GMT
Managed to get a "Premium Seat" for one of the previews (not many others left). Overall impression, a much better production than it could have been. Barnum has a special place in my heart, as it is was one of the first shows I ever saw, around 25 years ago, with Andrew O'Connor as the lead (my main memories for that one were Andrew O'Connor being impressive and doing lots of stunts and this being a very visual production, but I remember very little about the plot, and only song that stuck in my mind was Black and White, being long and boring). I also saw the Brian Conley tour twice, enjoyed in, but it wasn't as I remembered it. I now realise that this had been substantially revised. The Menier production goes back to the original script, which is very different. The songs are moved around, some lyrics are different, the book is very different. Frankly, the newer version makes more sense. But, if you didn't already like Barnum, you're unlikely to like this one. The Menier production room has been opened up and this is performed in the round. It all looks much bigger than I remember in that format. There isn't much of a set, but there is a central round platform which is used. The staging in the round fits the circus theme, but also makes some of the viewing difficult. For instance (even from a premium seat), I know there was fire used at one point, but only because I could see the edge of it. Otherwise my view was blocked by cast members. The fire brings me onto the main problem. The room was bitterly cold, with no heating. From what I could hear, there was also meant to be music playing when the audience arrived, but this was broken. Fair warning. There is audience interaction, particularly with the front row. The ensemble came out about 5 minutes before the advertised start time (8pm). A few conjuring tricks (some went wrong, so still being worked on), juggling etc. They weren't particularly good at engaging the audience that night, but did, for instance, show each other their tricks. The show started properly about 8:05pm. The restaurant was really full, which I think explains the show starting slightly late. Staging was good, with some great acrobatics from the ensemble. The biggest problem in the space was the sound. The ensemble performing on the hard floor of the Menier was really noisy and it was hard to make out the words during the songs. If you don't know the story, you may struggle to follow this. I thought Marcus Brigstocke was excellent at involving the audience and very different to the other people I've seen play Barnum. He did a few conjuring tricks during the show and ad-libbed as needed. Not the best singing voice, but it isn't a role that needs a great singer. Laura Pitt-Pulford, I thought struggled with keeping the accent going, so it drifted in and out. Some good chemistry between the two leads. If I can single out members of the cast, Danny Collins and Dominic Owen came out during the interval to ad-lib for a few minutes. Both very funny, talking about empty seats (few), people leaving in the intermission (possibly read here - I didn't notice any on the night) and Danny doing some of his funny dancing. If that's a regular think, I suggest only taking a short interval break. The stunts didn't always go right. There were some acrobatic fails, falling off giant balls, balls being dropped when thrown around (which confused the cast with a then "invisible ball" in the sequence etc). Hopefully, that polish will appear during the run. The tightrope scene, unfortunately, failed as well. It is a very wide tightrope, just below waist height. A really tough ask, to both sing and walk the tightrope. The cast do wait crouched by the tightrope in case any help is needed. First go, Marcus got around one quarter of the way across before falling - and commented that this sometimes takes a few goes. To me, it looked as though this was meant to be an "almost fall". Second go, about half way. Marcus commented that it might be a while until the interval. Third go, only a quarter again. He jumped back further down and completed the rest of the walk holding onto a member of the cast (with a great round of applause for the showmanship). Finishing time was 10:15pm, so I imagine this will be over by 10:10pm when it's tightened up. So relatively short. And now, some spoilers. {Loud Noises Warning}Including this one based on the topic in the General Forum.
There is a Loud Noises warning, but this was quite a tame one.
A large Party Popper type device is fired during Black and White. Because of the angle, I didn't even notice it until it was fired.
(the loudest noises weren't planned - there were a few bangs during the show from backstage, presumably from items being dropped) {Talent Show Warning}Some members of the audience are "selected" to play Kazoos during Come Follow The Band.
As Marcus pointed out, he chooses the people who look away. {Sections Where The Audience Get Soaked Warning}Humbugged!
(unlike the recent tour, there is no water used in the Elephant scene) I did enjoy it, in a way that has a slight fun amateur edge to it. There really are some great songs, including One Brick At A Time, Come Follow The Band and Join The Circus. I'd be keen to go back towards the end of the run to see how it all looks when the kinks are ironed out. I saw the Andrew O'Connor version several times. Loved it. |
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660 posts
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Post by Oleanna on Dec 3, 2017 0:11:11 GMT
Could somebody please confirm whether this production uses the original Broadway “chase” overture, or the more common West End “duelling pianos” overture?
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3,325 posts
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Post by Dr Tom on Dec 3, 2017 14:47:28 GMT
Could somebody please confirm whether this production uses the original Broadway “chase” overture, or the more common West End “duelling pianos” overture? It largely cut the overture entirely, which also probably explains shaving the run time. {Spoiler - First Half Start}
Mini piano on raised central platform.
Marcus enters and picks out the first few notes of Come Follow The Band. Then straight onto the dialogue.
{Spoiler - Second Half Start}
Straight onto Come Follow The Band, with the orchestra walking around the performing area playing their instruments (and the cast following, with instruments, that they may or may not have been playing).
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5,796 posts
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Post by mrbarnaby on Dec 3, 2017 19:42:18 GMT
Premium tickets at the chocolate Factory? That is hilarious
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Post by Deleted on Dec 3, 2017 20:52:46 GMT
Premium tickets at the chocolate Factory? That is hilarious The Menier don't have premium seats. What are you laughing at? They are Standard and Premier. Like at cinemas. |
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904 posts
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Post by lonlad on Dec 4, 2017 1:51:36 GMT
Um, no premier except for Premier??? HUH?  |
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1,478 posts
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Post by Steve on Dec 4, 2017 11:56:51 GMT
Saw this at the Saturday matinee. I adore this show, especially Cy Coleman's music, but Marcus Brigstocke is a black hole of miscasting that is soul crushingly depressing to watch! Some spoilers follow. . . Everything about Marcus Brigstocke told me he was wrong for the part, but I booked anyway, thinking anyone can reinvent themselves: take off the Clark Kent glasses, let Cy Coleman's exuberance lift you, and anyone can become a Superman of filmflam! But there's a sucker born every minute, and I'm one of them. This Clark Kent takes off his glasses, and. . . . . remains Clark Kent. Ironically, this is exactly what Brigstocke's standup comedy character would have predicted, as Brigstocke's stage persona was an earth-bound, lumpen, sarcastic skeptic of humbug, a critic of all flimflam and flights of fancy. Indeed, back in the noughties, when a real modern day Barnum, David Blaine, jumped in a perspex box on the Thames Embankment, and apparently starved himself for 40 days, for the wonderment of passersby (I myself frequently stopped there to spend lingering minutes of sympathetic unbroken eye contact with Blaine's lonely figure), Brigstocke mocked him on the radio, as a "git wizard" performing a "freakdangle." Brigstocke's whole schtick was that showmanship was worthless. I figured Brigstocke's comedy persona was an act, that he was merely pretending to be a lumpen and lifeless critic of humbug. But this show painfully demonstrates the opposite, that there is no humbug in in the man. Yes, there is no humbug, nor the semblance or any trace of humbug in the very man cast as "The Prince of Humbug," Barnum. In my view, humbug, as defined by Barnum, has two qualities, both present on the Menier stage: flimflam and flamboyance. Flimflam is present in Danny Owen's excellently twisted performance as "the Ringmaster," his blagging canny insincerity exuding flimflam to the max. Flamboyance is present in Harry Francis' uplifting and thrilling performance of Tom Thumb, his ecstatic exuberance lifting me every time I caught sight of his swaying happy gait. Of the two qualities that make up humbug, flamboyance is the more important, as flamboyance is loveable, and a rogue like Barnum must be loveable for the show to really spark. Therefore, if I had to cast someone in this troupe as Barnum, it would be Francis. The person I would not cast is Brigstocke. He looks the part, his Clark Kent glasses a distant memory. But he has no spark, no charisma, no fire, no flight, no flamboyance, no flimflam. And his inability to embody ANY quality of Barnum whatsoever destroys the effectiveness of the performers who interact with him. Take Laura Pitt-Pulford, one of my favourite musical theatre actors. As Barnum's wife, Chair-y (yes, the clue to her groundedness is in her name), she is supposed to be the grey one, the lion tamer to Barnum's lion, who the flighty dreamy Barnum must lift, even as she grounds him. But Pitt-Pulford has so much more feeling and zest and nuance in her every expression and gesture, than Brigstocke does in his entire body, that their duet "the Colors of My Life" sinks! Pitt-Pulford is flummoxed, as the more she plays her character's greyness, the more the scene dies as Brigstocke offers no counterbalance, yet the more she attempts to liven up the scene, the less she plays her character. The most telling moment comes when Brigstocke leaves Pulford alone onstage to finish the song by herself, and Pulford suddenly becomes incandescent, Brigstocke's dead weight removed, and we feel the soul of Michael Stewart's lyrics and Cy Coleman's music, and the desperate passion and feeling that can lie behind apparent greyness. Yes, the only time this show works is when Brigstocke is absent. As the show progressed, I realised that the only way to get pleasure from this show was to redirect my focus to the periphery. The great song "Come follow the band" pointed the way, as following the band with my eyes, and directing them anywhere but at Brigstocke was the only way I could get any pleasure at all. The most pleasure comes from watching the sheer joie de vivre of Harry francis, and the tender grace of Laura Pit-Pullford when she is alone. All in all, this show is a travesty. You have a lead character who has certain qualities, and you cast in that role a person who not only does not share those qualities, not only completely lacks those qualities, but who has always hated those qualities, and has made a career of saying so. Very poor show! Barnum himself would have been livid!  2 stars, out of gratitude for Cy Coleman's uplifting music, for Laura Pit-Pullford's soulfulness and for Harry Francis' love of life!  |
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1,345 posts
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Post by tmesis on Dec 4, 2017 12:38:38 GMT
I agree with every word of your spot-on review Steve . The title role seems to be a bit of a problem all-round. I felt Christopher Fitzgerald lacked charisma when he did it at Chichester, but compared to Brigstocke he was superb - he could at least sing, dance, act and walk a tightrope unlike Marcus. It must have been painfully obvious he was totally inadequate early on in the rehearsal process so why was he not replaced? Sadly I never got to see Crawford in the role - my car broke down on Hammersmith flyover! |
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Post by steve10086 on Dec 4, 2017 13:14:24 GMT
David Blaine *is* a git wizard!! There’s “showmanship” and then there’s “pointless idiot sitting in a box”. I’m glad the British public just threw rubbish at him while he was up there.
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1,478 posts
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Post by Steve on Dec 4, 2017 15:27:41 GMT
I agree with every word of your spot-on review Steve . The title role seems to be a bit of a problem all-round. I felt Christopher Fitzgerald lacked charisma when he did it at Chichester, but compared to Brigstocke he was superb - he could at least sing, dance, act and walk a tightrope unlike Marcus. It must have been painfully obvious he was totally inadequate early on in the rehearsal process so why was he not replaced? Sadly I never got to see Crawford in the role - my car broke down on Hammersmith flyover! There's a recording of Crawford's performance, and a low quality copy of it is on youtube. I think Crawford was wonderful in the role. I saw the last tour, in Wimbledon, and Brian Conley was made for the role. He probably would have been even better if he played it when he was younger, but he completely embodied showmanship (he's a former Royal Variety Host, after all), and had more of a flim flam edge to him than Crawford. Really, he was terrific! I f Daniel Mays could sing, I bet he'd be a good Barnum. And I wonder what Samuel Edwards, who was such an amiable lug in Xanadu at Southwark, would do with the role. He has loveable charisma in spades, but could he put an edge on it!? David Blaine *is* a git wizard!! There’s “showmanship” and then there’s “pointless idiot sitting in a box”. I’m glad the British public just threw rubbish at him while he was up there. Lol. I don't know, we used to love going down to watch Blaine in the box, as well as watch the people watching him in the box. It was something out of the ordinary, slightly disreputable, endlessly fascinating, and felt just a bit magical, just like Barnum's own stunts. Come on, presenting a five year old to Queen Victoria, pretending the kid was eleven, and having him smoke and drink and call himself General Tom Thumb, "the smallest man in the world." That's what Barnum did, and Queen Victoria was famously "amused." I bet people used to speculate how old the kid really was, and how much of a git-wizard Barnum was for making out the kid was much older than he really was, and for having him smoke and drink! Similarly, back in 2003, my friends and I would joke about how the apparently starving Blaine was obviously feeding himself by mixing proteins into his water feed, though when he came out, he looked so sickly awful that I began to doubt my own cynicism. But simply put, Blaine made that section of the Thames absolutely fascinating for the brief period he was in that see through box, and I really wish more Barnums would pull off more stunts to make the world more interesting. The modern day Barnum I would throw rubbish at is the "pointless idiot" in the Presidency, who is so racist and divisive, with his flamboyant flim flam and humbug, that I loathe him, no matter how "entertaining" he is. The man of the year for me is Mueller, for throwing "rubbish" at him with such good aim. |
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Post by Deleted on Dec 4, 2017 17:25:19 GMT
I’m torn... all of these lukewarm reviews are making me seriously doubt how much this is worth my visit. On one hand, I’d love to see a production, but on the other I worry this one is too lacklustre.
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76 posts
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Post by finalperformance on Dec 4, 2017 18:25:55 GMT
I’m torn... all of these lukewarm reviews are making me seriously doubt how much this is worth my visit. On one hand, I’d love to see a production, but on the other I worry this one is too lacklustre. |
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76 posts
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Post by finalperformance on Dec 4, 2017 18:29:05 GMT
Worth seeing rarely performed musical and cast works their butts off. Went Saturday night 2:15 running time.
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5,796 posts
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Post by mrbarnaby on Dec 4, 2017 19:05:12 GMT
Worth seeing rarely performed musical and cast works their butts off. Went Saturday night 2:15 running time. Erm it’s hardly rarely performed. |
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1,210 posts
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Post by musicalmarge on Dec 4, 2017 22:54:05 GMT
Worth seeing rarely performed musical and cast works their butts off. Went Saturday night 2:15 running time. Erm it’s hardly rarely performed. Just had a major UK tour and was at Chichester! |
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76 posts
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Post by finalperformance on Dec 4, 2017 23:07:17 GMT
Until recently, I saw it in the early 80's. Your correct though but I was thinking of only the London production.
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1,132 posts
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Post by Stephen on Dec 4, 2017 23:26:16 GMT
I'd be interested to hear how the understudy is in this lead role?
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2,743 posts
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Post by n1david on Dec 5, 2017 0:21:10 GMT
I'd be interested to hear how the understudy is in this lead role? And hoping that Brigstocke has an “accident” on the day you’re supposed to see the show? |
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1,132 posts
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Post by Stephen on Dec 5, 2017 0:50:37 GMT
I'd be interested to hear how the understudy is in this lead role? And hoping that Brigstocke has an “accident” on the day you’re supposed to see the show? Gosh that would make me a terrible person!... |
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1,210 posts
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Post by musicalmarge on Dec 5, 2017 7:16:29 GMT
So we all agree this isn’t going to transfer?
I’m still waiting for She Loves Me!
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Post by Deleted on Dec 5, 2017 10:23:47 GMT
Well. Marcus Brigstocke managed to get from one end of the tightrope to the other without falling off. Hoorah. Sadly, that's probably about the only successful part of his performance. He seems nice enough and tries manfully to hold onto a tune (not always successfully) but he's got all the charisma of an empty washing up liquid bottle. You don't believe that he could muster up a cough let alone a whole circus.
Laura Pitt-Pulford is very nice and sings beautifully (and it is a smashing score) but she's got to work hard for her money. The show ends up really being all about the ensemble who are fabulous. They mix with the audience before the show and during the interval and do all sorts of tricks and fire wafting and acrobatics and such without letting the energy drop. 'Come Follow The Band' is done really rather well with the band (very good btw) joining them on stage and I defy anyone not to tap their feet while it's playing.
Other highlights are Harry Francis as Tom Thumb who pretty much steals the show. He's as cute as a button, sings fabulously well and dances about like he's jacked up on chocolate and fizzy drinks. Plus, he wears quite possibly some of the snuggest trousers I've seen on stage for quite some time and his performance is none the worse for that. Tupac Shakur Tupele Dorgu is also great, giving 'Thank God I'm Old' some wellie and then a rather smashing 'Black and White' in the second half.
I did love those trousers though. Made me quite fancy a peach. But enough about 'Call Me By Your Name' and back to 'Barnum' . . .
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