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Post by BurlyBeaR on Jan 27, 2019 12:27:35 GMT
As long as 30?
This was my problem with it. I hated the lot of ‘em.
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Post by distantcousin on Jan 27, 2019 16:13:30 GMT
I've seen musicals where I've hated the characters much more.
I felt more for Rose or Alex than I did Bobbie in Company, for example.
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Post by BoOverall on Jan 27, 2019 20:12:03 GMT
I’m a big fan of Aspects: for me it is one of my favourite ALW musicals score-wise and I loved the original London run. And I enjoyed seeing the many changes it underwent..... turning “There is More to love” from lovely solo to a magnificent duet was by far my favourite change. Ravishing. But I get why future incarnations reverted it to a solo.
I look forward to seeing this on the final night of this run.
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Post by theatrelover123 on Jan 29, 2019 16:08:12 GMT
Just posted 2 tickets for the show tonight on the Noticeboard - reduced price for great seats.
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Post by Dawnstar on Jan 29, 2019 19:44:38 GMT
A week after seeing it, I'm still trying to decide if Alex or Rose is more at fault in their affair. Is it worse for a boy to proposition a woman he barely knows or for a woman to have an affair with a minor?
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Post by happytobehere on Jan 29, 2019 20:46:44 GMT
A week after seeing it, I'm still trying to decide if Alex or Rose is more at fault in their affair. Is it worse for a boy to proposition a woman he barely knows or for a woman to have an affair with a minor? A woman (or anyone for that matter) having an affair with a minor is absolutely most at fault. |
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Post by distantcousin on Jan 29, 2019 22:16:13 GMT
Finally getting round to posting my review - I agree with @theatremonkey.com on all his points! The underage storyline is on the edge, and it just reflects how social mores and acceptable behaviours change from decade to decade! The following are rather scattergun reflections: LOVED Madalena - such a class act, but could barely make out a word of "Hand Me The Wine and The Dice". Her There Is More To Love was magnificent though. Would have nice to have had a backdrop of the mountains beyond those doors for certain scenes, just to give us a sense of place a bit more. The piroutting scene changers - LOL - if so many scene changes are required, may as well do it with panache! I get that Love Changes Everything is Alex's motif and (even used a little by Jenny and (?) Rose) but it's just too much! It gets a bit laughable after a while, especially with the 30 year hindsight of it being SUCH a recognisable song/standard. Jerome's gestures were indeed rather "big" but I generally liked his acting, even if he was a bit young for the role. I thought the woman playing Jenny did it wel, especially as a 14 year old. Would have looked even more convincing if she'd initially hadn't worn make up. I didn't think the characters were dreadful - I admired their joie de vivre. I think some of their continental excesses are still a bit "tut tutty" for the average middle class Brit. Musically, I would have tinkered around the edges with it as much as the licence allows. Too much clunky recitative. Just having pianos as musical accompaniment got tiresome after a while. It was too much of a monotonous soundscape for a full show. I think some of the more murky aspects are even harder to palate for the "woke" generation. I quite liked it, because I enjoy feeling uncomfortable at times during theatre - being challenged - it's more interesting than just a lovely night out. So I was interested to see how far they would take it. Having seen the David Essex UK tour, I realised how much I'd forgotten. Don't think Felix Mosse was a great actor - he conveyed a youthful naiveity in the beginning but unfortately that remained for his 30-something self - which was less believable. The polo shirt tugging! Yes, did our heads in!! Kelly Price was perfect for the role, although she could have played it a little less "English Rose" and a bit more French!  Perhaps the director hasn't managed to convey to everyone in the cast to fully understand the story and its scenarios - at least beyond a surface level - I think some life experience is required for the passionate attitudes to relationships in this piece! The "big ending" of Anything But Lonely I have only heard by Sarah Brightman - it isn't even on the Original London Cast Recording. Kelly P made a good fist of it, even if she didn't hold a note for long, she hit em! A great show and production that has certainly stayed with me since I saw it. |
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Post by Deleted on Jan 29, 2019 23:48:07 GMT
The piroutting scene changers - LOL - if so many scene changes are required, may as well do it with panache! The thought of them twirling with a chair still makes me chuckle! The underage storyline is on the edge, and it just reflects how social mores and acceptable behaviours change from decade to decade! In the original production, i'm sure it was played as if Alex was genuinely interested in Jenny, where as this production he seems to push her away more. |
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Post by distantcousin on Jan 30, 2019 8:06:02 GMT
The piroutting scene changers - LOL - if so many scene changes are required, may as well do it with panache! The thought of them twirling with a chair still makes me chuckle! The underage storyline is on the edge, and it just reflects how social mores and acceptable behaviours change from decade to decade! In the original production, i'm sure it was played as if Alex was genuinely interested in Jenny, where as this production he seems to push her away more.
Yes, he comes across as tormented over his feelings doesn't he?
I was doing some research, and I've seen production photos (probably of amateur productions) where the 13/14 year old Jenny is played by a different, younger actress than the "two years later" scenes
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Post by Dawnstar on Jan 30, 2019 12:40:15 GMT
Saw it this afternoon, and to answer the question here first, I don't think either is at fault. They were both wanting something out of it, and they got it. She was exploiting his lust, he was exploiting her sudden impoverishment. It was the later paedophilic relationship between him and Jenny that seemed more worrying. As written this should be deeply unsuitable, as she's 15 and he's over 30. However given Felix Mosse only looks about 20 I felt it didn't come over as oddly in this production as it probably ought to. Perhaps the director hasn't managed to convey to everyone in the cast to fully understand the story and its scenarios - at least beyond a surface level - I think some life experience is required for the passionate attitudes to relationships in this piece! I suspect that this is why I, as an audience member, find the characters & their behaviour very difficult to relate to: I've never had any affairs myself. |
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Post by princeton on Jan 30, 2019 14:08:56 GMT
I was doing some research, and I've seen production photos (probably of amateur productions) where the 13/14 year old Jenny is played by a different, younger actress than the "two years later" scenes The original productions had a younger and an older Jenny - and although the time period is only a couple of years - the younger Jenny tended to be played by someone in their very early teens (Scarlett Strallen was only about 9 when she played it mid run) and the slightly older Jenny by someone in their late teens/early 20s (Diana Morrison did the entire three year west end run). In the original Broadway cast Jenny at 12 and Jenny at 14 were played by sisters. |
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Post by distantcousin on Jan 30, 2019 15:10:16 GMT
I was doing some research, and I've seen production photos (probably of amateur productions) where the 13/14 year old Jenny is played by a different, younger actress than the "two years later" scenes The original productions had a younger and an older Jenny - and although the time period is only a couple of years - the younger Jenny tended to be played by someone in their very early teens (Scarlett Strallen was only about 9 when she played it mid run) and the slightly older Jenny by someone in their late teens/early 20s (Diana Morrison did the entire three year west end run). In the original Broadway cast Jenny at 12 and Jenny at 14 were played by sisters. Very interesting - thank you.
If I ever get to direct it, I think I'd like to do it with 2 actors for the role.
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Post by chernjam on Feb 2, 2019 16:34:03 GMT
Hey everyone... just catching up on the London run of Aspects here. I was excited when I first read somewhere that "Aspects of Love returning to London for it's 30th Anniversary" and thought about flying from NY just to see it, since it was the first musical I ever saw and still is one of my favorite scores.
When it sounded like an even smaller production (or at least orchestra) than The Woman in White I decided against that type of expense.
I get it, the original production was much maligned as too opulent. The fact that it ran 3 years in London is probably more about ALW's name on it at the time and just the general state of things in theatre back then. The fact that it was a flop in NY probably underlined the difficulties with the story and the audience being unable to really connect or care with the characters. Something that I would tend to believe is even more the case now than in 1990.
That being said, the score remains a favorite. Was upset to hear There is More to Love was reverted back to a solo. The duet, as someone mentioned, was ravishing (fortunately on broadway, I saw it with the two originals and the cast recording pales in comparison to the bootleg of it)
Curious about two things 1 - Did ALW attend the premiere or comment about this production anywhere? and 2 - 5 years ago some Opera company in UK said they were doing the "new definitive version" that ALW himself revised of Aspects that supposedly incorporated extensive changes... is that what this is?
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Post by steve10086 on Feb 2, 2019 17:01:26 GMT
I’m seeing this on Monday night, but must admit to not looking forward to it very much. I love the show, but I’ve seen a version of Aspects before that was piano only, and it sounded so monotonous. Why did they decide to do this production that way? You only need a small handful of musicians to produce something so much better.
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Post by Dr Tom on Feb 2, 2019 18:39:00 GMT
I’m seeing this on Monday night, but must admit to not looking forward to it very much. I love the show, but I’ve seen a version of Aspects before that was piano only, and it sounded so monotonous. Why did they decide to do this production that way? You only need a small handful of musicians to produce something so much better. Space at Hope Mill and finances to make this work as a fringe production, I expect. |
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Post by chernjam on Feb 3, 2019 3:45:16 GMT
I’m seeing this on Monday night, but must admit to not looking forward to it very much. I love the show, but I’ve seen a version of Aspects before that was piano only, and it sounded so monotonous. Why did they decide to do this production that way? You only need a small handful of musicians to produce something so much better. Will be looking forward to your review Steve... I really want a professional, fully staged, "chamber opera" of this (meaning at least a few instruments). It sounds like the recent revival in Australia was more like that - which seemed successful (they extended the run). The day something like that comes to the West End, will be on the next flight. |
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Post by BurlyBeaR on Feb 3, 2019 8:30:48 GMT
I’m seeing this on Monday night, but must admit to not looking forward to it very much. I love the show, but I’ve seen a version of Aspects before that was piano only, and it sounded so monotonous. Why did they decide to do this production that way? You only need a small handful of musicians to produce something so much better. Space at Hope Mill and finances to make this work as a fringe production, I expect. It’s not a matter of space at the HM. It can be configured in several ways to accommodate a band. |
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Post by Distant Dreamer... on Feb 6, 2019 12:00:43 GMT
I enjoyed seeing this musical again (one of my ultimate favorites), however I agree there were some casting alternations I would have made. I thought Kelly Price was utterly spectacular and one to look out for in future  |
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Post by Deleted on Feb 6, 2019 12:16:20 GMT
I enjoyed seeing this musical again (one of my ultimate favorites), however I agree there were some casting alternations I would have made. I thought Kelly Price was utterly spectacular and one to look out for in future Agreed. Hadn't heard of her before this but she is sensational. Anything But Lonely one of the most thrilling musical moments anywhere in London currently! |
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Post by Distant Dreamer... on Feb 6, 2019 12:54:48 GMT
I enjoyed seeing this musical again (one of my ultimate favorites), however I agree there were some casting alternations I would have made. I thought Kelly Price was utterly spectacular and one to look out for in future Agreed. Hadn't heard of her before this but she is sensational. Anything But Lonely one of the most thrilling musical moments anywhere in London currently! It's a powerful song and I remember Shona Linsday's version very well from all those years ago...but Kelly's version really seemed to find new depths. |
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Post by SageStageMgr on Feb 6, 2019 19:23:16 GMT
Seeing this Sat mat mainly for Jerome. PLEASE tell me he gives his usual understated and subtle performance? He’s one of my favourite performers. 100% theatrical entertainment in everything.
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Post by Deleted on Feb 6, 2019 20:05:03 GMT
Seeing this Sat mat mainly for Jerome. PLEASE tell me he gives his usual understated and subtle performance? He’s one of my favourite performers. 100% theatrical entertainment in everything. There's NOTHING understated and subtle in his performance in this. Sorry! |
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Post by SageStageMgr on Feb 6, 2019 21:16:55 GMT
Seeing this Sat mat mainly for Jerome. PLEASE tell me he gives his usual understated and subtle performance? He’s one of my favourite performers. 100% theatrical entertainment in everything. There's NOTHING understated and subtle in his performance in this. Sorry! Brilliant!!!! Can’t wait!!!! Tell me more? |
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Post by Deleted on Feb 6, 2019 21:17:06 GMT
Seeing this Sat mat mainly for Jerome. PLEASE tell me he gives his usual understated and subtle performance? He’s one of my favourite performers. 100% theatrical entertainment in everything. Yes he does. And if you happen to be in Southwark station during the show, you'll still be able to witness the subtlety of his performance. |
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449 posts
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Post by SageStageMgr on Feb 6, 2019 21:17:48 GMT
Seeing this Sat mat mainly for Jerome. PLEASE tell me he gives his usual understated and subtle performance? He’s one of my favourite performers. 100% theatrical entertainment in everything. Yes he does. And if you happen to be in Southwark station during the show, you'll still be able to witness the subtlety of his performance. More info needed. xxx |
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