721 posts
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Post by hulmeman on Dec 1, 2017 14:48:57 GMT
Too long this musical as been a gap I my experience, well now I can put that right at the Storyhouse, Chester as they include it in their 2018 season..........
....The season opens on 5 May with Stephen Sondheim’s multi award-winning A Little Night Music, featuring the infamous song Send In The Clowns. This is followed by Arthur Ransome’s classic children’s tale of adventure and the great outdoors: Swallows and Amazons, opening on 26 May and reimagined for Chester. Completing Storyhouse’s season is Arthur Miller’s shattering tale of the Salem witch trials, The Crucible, from 16 June.
Grosvenor Park Open Air Theatre returning from 6 July -26 August, with Shakespeare’s The Tempest and Much Ado About Nothing. Swallows and Amazons will transfer from indoors at Storyhouse to the beautiful park setting.
All five productions will be performed by Storyhouse’s rep company of 30 actors, the largest outside of the National Theatre and the Royal Shakespeare Company. Also performing will be eight musicians and a community chorus of 15, as well as three actors from Storyhouse and the University of Chester’s MA Drama Programme.
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5,138 posts
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Post by TallPaul on Dec 2, 2017 9:47:35 GMT
I heard Jeremy Vine talking about Storyhouse on his show, so while I was listening, I went to the website. I think everyone else had the same idea, cos it took an age to load! If only I lived a little closer, and Chester was a little easier to reach.
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Post by Deleted on Mar 16, 2018 6:19:34 GMT
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19,659 posts
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Post by BurlyBeaR on May 26, 2018 10:23:28 GMT
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3,303 posts
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Post by david on May 26, 2018 14:04:18 GMT
Just had an email saying that if you use the promo code “THECLOWNS” you get 25% off full price tickets for all performances.
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Post by Deleted on May 26, 2018 22:45:17 GMT
Saw this in its opening week.
Its worth a visit sheerly for the music, an on-stage chamber orchestra consisting of baby grand piano, string quartet 2 brass and 2 woodwind sounded lush!
Some great casting, some less so. They got a load of local dancers in to fill the stage a couple of times and they really weren't necessary for the little they were on.
Didn't particularly like the visual design. It's supposedly set at the turn of the 20th century but overally looked a bit too Art Deco. The second act was completely undermined by some terrible 5ft beaded circle supposedly representing a setting sun, but hung off 5mm steel wire on a metal semi-circle slowly creeping down through the act, looked a bit more 'Cornley Polytechnic Drama Society'. They'd have achieved a much more successful result with some subtle programming of a single LED Wash backlighting the backdrop.
As the bulk of the performance was on the thrust set-up (with audience sat on 3 sides) there was a bit too much 'lets use the creaky auditorium door as an entrance'.
Unfortunately most of the show was spent reeling at the 10yrs kids sat behind us slurping their sprite, fisting their bags of sweets, giggling awkwardly at the sexual tension in the show - that was at times a bit too mature for them - kicking out chairs and passing wind.
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Post by Deleted on May 26, 2018 22:50:37 GMT
The setting sun in question...  |
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19,659 posts
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Post by BurlyBeaR on May 27, 2018 10:35:10 GMT
Looks like something to keep the flies out!
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Post by partytentdown on May 27, 2018 14:39:25 GMT
Interesting fact, Emma Rice wanted to do this at the Globe (indoor theatre) but the bosses told her she couldn't.
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Post by crabtree on Jun 24, 2018 22:45:14 GMT
I so enjoyed this classy, stripped back, uncluttered and detailed production up at the chester Storyhouse tonight. a lovely space in an exciting building with a real buzz about it.I went in nervously expecting not to like the modern costumes but they worked so well. Unfussy and elegant and very sexy and moving.
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Post by Deleted on Jun 25, 2018 6:25:12 GMT
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3,303 posts
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Post by david on Jul 8, 2018 17:31:07 GMT
Well having seen this at today’s matinee, I have to say I really enjoyed it.
This was my first time at the Chester Storyhouse, and was really impressed with the overall setup. The theatre shares the building with the city library and cinema. Trying to pick up my ticket, I found there to be no box office as such just 3 computer terminals that spit out your ticket receipts so you don’t get a proper ticket as such (similar to the Hamilton ticket set up). There is plenty of space to sit and eat prior to a show and was thankfully well air conditioned.
The auditorium itself is simiar in design to the Bridge Theatre in London. Speaking to a FOH volunteer, she told me that the theatre, similar to the Bridge can be reconfigured depending on the particular show. Sitting in what would be the 3rd gallery, in a centre seat near the back, while a cheap ticket £25, I found that a sloping ceiling managed to cut off the top of the stage. Thankfully this really didn’t impede my experience, at the interval I moved a few rows down along with some other patrons as there where plenty of empty seats. Being a brand new theatre, the seating was very comfortable and with plenty of legroom as well.
With respect to the show, there was minimal staging. It would have been nice to have had a bit more scenery and/or projections to help set the different scenes. One issue I did have was the really bad use of a beaded curtain in Act 1. Quite what it’s purpose was is anybody’s guess, but quite honestly looked tacky and shouldn’t have been used at all. Meanwhile in Act 2 a similar thing was used to represent the sun. Again it looked tacky and a projection on the back of the stage wall would of been far more effective.
In relation to the cast, I really couldn’t fault any of them or the singing. While Serena Evans gave a great performance as Desiree Armfeldt, for me Gay Soper got the best lines as Madam Armfeldt. I’m sure she would make a great Lady Bracknell.
For me, the best part of the whole afternoon was listening to that great 8 piece orchestra. I was dubious at first saw it as I didn’t think it would do the musical score justice but after the first 5mins it won me over and it was an absolute delight to hear them. When they did Send in the Clowns, it really was beautiful to hear and along with Serena’s voice really did the number justice. The fact that you actually saw the orchestra on stage rather than hidden away was extra special. Being in the top tier, there where no sound issues so I could sit back and enjoy the music.
A top quality production and I certainly wouldn’t hesitate in visiting the Storyhouse again in the future.
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Post by Deleted on Jul 8, 2018 17:48:59 GMT
Well having seen this at today’s matinee, I have to say I really enjoyed it. This was my first time at the Chester Storyhouse, and was really impressed with the overall setup. The theatre shares the building with the city library and cinema. Trying to pick up my ticket, I found there to be no box office as such just 3 computer terminals that spit out your ticket receipts so you don’t get a proper ticket as such (similar to the Hamilton ticket set up). There is plenty of space to sit and eat prior to a show and was thankfully well air conditioned. The auditorium itself is simiar in design to the Bridge Theatre in London. Speaking to a FOH volunteer, she told me that the theatre, similar to the Bridge can be reconfigured depending on the particular show. Sitting in what would be the 3rd gallery, in a centre seat near the back, while a cheap ticket £25, I found that a sloping ceiling managed to cut off the top of the stage. Thankfully this really didn’t impede my experience, at the interval I moved a few rows down along with some other patrons as there where plenty of empty seats. Being a brand new theatre, the seating was very comfortable and with plenty of legroom as well. With respect to the show, there was minimal staging. It would have been nice to have had a bit more scenery and/or projections to help set the different scenes. One issue I did have was the really bad use of a beaded curtain in Act 1. Quite what it’s purpose was is anybody’s guess, but quite honestly looked tacky and shouldn’t have been used at all. Meanwhile in Act 2 a similar thing was used to represent the sun. Again it looked tacky and a projection on the back of the stage wall would of been far more effective. In relation to the cast, I really couldn’t fault any of them or the singing. While Serena Evans gave a great performance as Desiree Armfeldt, for me Gay Soper got the best lines as Madam Armfeldt. I’m sure she would make a great Lady Bracknell. For me, the best part of the whole afternoon was listening to that great 8 piece orchestra. I was dubious at first saw it as I didn’t think it would do the musical score justice but after the first 5mins it won me over and it was an absolute delight to hear them. When they did Send in the Clowns, it really was beautiful to hear and along with Serena’s voice really did the number justice. The fact that you actually saw the orchestra on stage rather than hidden away was extra special. Being in the top tier, there where no sound issues so I could sit back and enjoy the music. A top quality production and I certainly wouldn’t hesitate in visiting the Storyhouse again in the future. Glad you enjoyed the whole experience and good to hear my thoughts and comments echo'd on the beads and the band. The 'Sun' especially looked awful and it undermined the rest of the production, in my opinion. I think part of why I was so disappointed with the 3-piece at Hope Mill's 'Aspects of Love' was because the reduced orchestration at ALNM was so effective and beautiful. Aria/Hope Mill took reduced to a whole new level of bargain basement orchestration. I guess that comes as a result of lottery funded vs fringe funded. |
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3,303 posts
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Post by david on Jul 8, 2018 17:53:01 GMT
Well having seen this at today’s matinee, I have to say I really enjoyed it. This was my first time at the Chester Storyhouse, and was really impressed with the overall setup. The theatre shares the building with the city library and cinema. Trying to pick up my ticket, I found there to be no box office as such just 3 computer terminals that spit out your ticket receipts so you don’t get a proper ticket as such (similar to the Hamilton ticket set up). There is plenty of space to sit and eat prior to a show and was thankfully well air conditioned. The auditorium itself is simiar in design to the Bridge Theatre in London. Speaking to a FOH volunteer, she told me that the theatre, similar to the Bridge can be reconfigured depending on the particular show. Sitting in what would be the 3rd gallery, in a centre seat near the back, while a cheap ticket £25, I found that a sloping ceiling managed to cut off the top of the stage. Thankfully this really didn’t impede my experience, at the interval I moved a few rows down along with some other patrons as there where plenty of empty seats. Being a brand new theatre, the seating was very comfortable and with plenty of legroom as well. With respect to the show, there was minimal staging. It would have been nice to have had a bit more scenery and/or projections to help set the different scenes. One issue I did have was the really bad use of a beaded curtain in Act 1. Quite what it’s purpose was is anybody’s guess, but quite honestly looked tacky and shouldn’t have been used at all. Meanwhile in Act 2 a similar thing was used to represent the sun. Again it looked tacky and a projection on the back of the stage wall would of been far more effective. In relation to the cast, I really couldn’t fault any of them or the singing. While Serena Evans gave a great performance as Desiree Armfeldt, for me Gay Soper got the best lines as Madam Armfeldt. I’m sure she would make a great Lady Bracknell. For me, the best part of the whole afternoon was listening to that great 8 piece orchestra. I was dubious at first saw it as I didn’t think it would do the musical score justice but after the first 5mins it won me over and it was an absolute delight to hear them. When they did Send in the Clowns, it really was beautiful to hear and along with Serena’s voice really did the number justice. The fact that you actually saw the orchestra on stage rather than hidden away was extra special. Being in the top tier, there where no sound issues so I could sit back and enjoy the music. A top quality production and I certainly wouldn’t hesitate in visiting the Storyhouse again in the future. Glad you enjoyed the whole experience and good to hear my thoughts and comments echo'd on the beads and the band. The 'Sun' especially looked awful and it undermined the rest of the production, in my opinion. I think part of why I was so disappointed with the 3-piece at Hope Mill's 'Aspects of Love' was because the reduced orchestration at ALNM was so effective and beautiful. Aria/Hope Mill took reduced to a whole new level of bargain basement orchestration. I guess that comes as a result of lottery funded vs fringe funded. I’ve booked for AOL myself for a sunday matinee at the end of the month. I’ve since lowered my own expectations based on people’s posts on here. Some things fine cut back on, but never the musical score |
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1,819 posts
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Post by stevej678 on Jul 9, 2018 9:45:16 GMT
I saw this on Friday evening and thought it was a wonderful, classy production superbly performed by the Storyhouse’s company who are also all appearing in The Crucible which is playing in rep. Not unlike the Everyman’s company up the M53, the vocals here are impressive (some voices stronger than other but not a weak link in the cast) but it’s the standard of acting and the detailed, nuanced performances that result which really impress and bring the strengths of a rep company very much to the fore.
This was my first visit to Storyhouse and it seemed like a great venue – blissfully cool for starters and interesting to hear from ushers how the configuration varies for their Made by Storyhouse in-house productions compared to touring shows, with the stage extended above and across what would usually be the stalls area, with just four rows of unraked seating forming a small pit in front of what is officially the Circle. From the first row of the Circle, I couldn’t have had a much better vantage point. A few empty seats to the sides but otherwise it seemed reasonably full.
Serena Evans has the audience in the palm of her hand as Desiree and while her singing voice perhaps isn’t the most powerful on stage, she delivers Send In The Clowns with such pathos and sincerity, it’s as touching and as beautifully heartfelt rendition as you could ever hope to hear. Her deadpan delivery at other times was hilarious. Daniel Flynn commands the stage as Fredrik, with fine support from Richard Lounds as the foppish Henrik, conveying a compelling sense of anguish, as well as Kayi Ushe who has the most wonderfully booming voice and a menacing stage presence as the intimidating Count Carl-Magnus.
For me though, the two stand-out performances here come from Eleanor Sutton as a delightfully flighty, innocent Anne and Leigh Quinn as Petra, the latter’s impish charms catching the eye whenever she is on stage, showcasing superb comic timing and providing the musical highlight of the evening as she darts around the stage for the sparkling The Miller’s Son. Gay Soper is imperious as the incisive grandmother while Storyhouse trainee actor Megan-Hollie Robertson is excellent as the almost ever-present Fredrika.
If the superb cast are a key factor behind this production’s success, equally important is the eight-strong orchestra, positioned to the rear of the stage and sounding beautiful – what a contrast to Aspects of Love’s much reduced orchestration the following day! I’m not sure the beaded curtain in act one or the beaded setting sun after the interval added much to proceedings (though I did quite like the curtain!) but overall I thought Yukiko Masui’s delightful choreography meant that I didn’t really feel shortchanged at any point by the limited furniture and scenery. The various elements of the show combined to fill what might otherwise have been a blank canvas. The staging felt sleek and modern rather than minimal and sparse. For A Weekend in the Country in particular, the stage came alive with energy and movement. I particularly liked the opening waltz as the cast appeared through different doors at all levels of the theatre as they made their way onto the stage and how this was then reprised for the finale.
As first impressions go then, I thought this was quite sublime. I couldn’t have asked for a better introduction to a musical I’ve wanted to see for some time. The running time of close to three hours absolutely flew by. It’s great to see the resurgence of thriving repertory theatre in the North West, with first Paint Your Wagon and now A Little Night Music providing two of the highlights of the year. I can’t wait to see what the Made by Storyhouse team, and likewise the Liverpool Everyman’s company, have in store for 2019.
Five stars.
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Post by Deleted on Jul 9, 2018 11:39:33 GMT
Serena Evans and Daniel Flynn are married apparently. To each other.
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