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Post by giovanni on Jan 20, 2020 11:49:34 GMT
David J... I think you're being a tad critical about the 'new' production (albeit 10 years old now). Bear in mind, I haven't seen it in London in quite a while. My experience is with the touring production - I saw it twice (original and new cast) in Southampton last October/November. It gripped me from the start - and didn't let up. For a touring production, it's big, with a big cast. Highlights? The transition to the sewers and Javert's suicide. Seeing Earl Carpenter as Javert in 2010 made me go "How the heck did they do that?!" Two of the best productions I've seen in the last ten years have been touring ones - Les Mis, in 2010 and last year, and Oliver in 2011. Of the two, Oliver pips Valjean & Co. But, to be fair, we all have our preferences. Don't give up on it. Pop in from time to time. It doesn't half make you feel good.
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Post by Stephen on Jan 21, 2020 0:03:49 GMT
I was there this evening and was lucky to see Luke McCall on as Valjean. He was, in my opinion, fantastic and I would highly recommend booking a ticket for this on a Monday to see him.
The Sondheim Theatre looks lavish. Mr M certainly has a proven track record of theatre refurbs and this one doesn't disappoint.
As for the show its in the best shape I've seen it. I saw the 25th tour in Edinburgh years ago but was too young to remember it in detail. It really suits the size of this house and I was impressed by how raw the show felt whilst retaining its beauty that we all know and love.
I've read comments about the orchestra still sounding small and I have to disagree. While it may be true that not everything is live from the pit this production does have the new orchestrations which are big and brassy in the overture and barricade scenes and perfectly tender towards the end. Gone are the boingy synths in every song.
I really like the use of Victor Hugo's projected art work and find it more effective than the rest of the projections eg sewers and waves at the beginning.
As mentioned above there are plenty of added little touches in this version. For me, sitting at the back of the Dress Circle, the sound enhancement for the barricade scenes was excellent with the whooshing of bullets all around.
The Sondheim stage felt huge and was well utilised. I didn't find myself missing the revolve at all.
Excellent cast all round but I especially like the Thenardiers who played the comedy to just the right level. Master of the House was brilliant and the audience loved it.
The one letdown was the audience behaviour. Lots of distractions from people trying to film, checking texts and chatting. It's a sad reminder of the times we live in that some people can't be fully immersed in a show as good as this!
I loved the original production but this change came at the right time to breathe new life into the show for generations to come!
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Post by 141920grm on Jan 21, 2020 1:59:12 GMT
The tour sets do fill out the relatively small Sondheim stage quite nicely, though I wish the projected artwork was better designed into the set! IMO the projections feel disconnected and the art used as a backdrop just because they're pretty and done by Hugo, the lack of integration (apart from the snow effect which is simple but cute and effective) kind of cheapens both the art and the use of projected backdrops. Its lack of complexity is the exact opposite of how nicely the set extends into the theatre with the alcoves and entranceways being made use of during the show.
I concur with the above opinion on Luke... I immediately booked a ticket for tonight after seeing his debut last Mon, and was amazed how he had already improved by leaps and bounds within the span of a week, and he was already fantastic to begin with! So many details to his acting and his voice is very enjoyable to me.
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Post by kimbahorel on Jan 22, 2020 20:15:31 GMT
My first view of the new production and I wasn't overwhelmed. I was looking forward to it esp after seeing the concert. But it didn't work for me. I can't see my self going back much at all and if I do it will for a cast member not to see the show again.
It was very cluttered with props and scenery. It seems like there are more props than there really needs to be and the scenery is very flat. Someone said about them using space or it being open and the only part you saw the space was the sewers. A lot of stuff happens on stage concidering the last time I saw it was the concert were they stripped away everything I wonder if they are just making up for it now.
The lighting is really dull. It's still an ensemble heavy show and they do do stuff in scenes its very dark so you cant actually see them much in scenes. Which makes me wonder why they are trying to hide cast. Since a lot of fans of the show do go for covers. It would be far pushed to figure out who was who in this production unless you were sitting close up which is expensive.
Honestly the only thing I liked better than the orginial was when Gavroche dies and the part where Feuilly stands on the tower in DYHTPS. I was liking Empty Chairs right up until they did what looked like ballet to exit the scene.
I really didn't like Javerts death. If they wanted wire (I assume it was) work they could of have him actually jumping off the bridge rather than what they did. It just doesn't fit in it looked weird.
I don't know why they have excessive amounts of violence in this esp the Bamatabois/Fantine bit. Bambi was probably one of my fave characters and its been ruined by the exaggeration.
I noticed they changed around dialogue.
On a cast note I really enjoyed Ian Hughes as Thenardier. I know someone said about Ciaran Bowling over doing it. I think a lot of the show is like that I found that in ABC/Red&Black really over the top. But Bowlings Drink With Me was good and when as I said when Gavroche dies.
Aside that, I was with another TB member and we agree that its missing something about it that made me walk out the theatre feeling happy.
Also note DO NOT BOOK the end seats of front row upper Circle (A3) Having sat in those very seats for the closing and having no problems they appeared to have lowered the seats so as someone who is 5'2" it felt like I was squating down to sit my knees were in my chest. It was really bad concidering I paid £30. If you book those make sure they are 17.50 ones because at least if anything you are paying lower.
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Post by theoracle on Jan 22, 2020 21:58:39 GMT
Well, after watching the gala performance last week, I've had the chance to really reflect on what I've seen and must say this is indisputably a Five Stars Production in a gloriously restored theatre. Perhaps I was too young to appreciate the revolve when it was there but I must say the barricades scenes were nothing short of breathtaking and Javert's death was mesmerising. The thing I do miss though is the etching of Cosette as the opening curtain but thats a minor thing Jon Robyns was incredibly moving as JVJ and Bradley Jaden was unrecognisable to me as Javert after his stunning turn as Enjolras in the Staged Concert. Once again, I concede to the CHF fans, she most certainly deserves to be on a West End stage, performing one of the most coveted roles in MT history. My heart sank during Fantine's arrest and tears rolled down my cheek during the epilogue. Whilst I would've preferred another theatre to be renamed the Sondheim Theatre so that we could see a Sondheim at the Sondheim but that just speaks to the success of this extraordinary musical. Go guys, just go  |
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Post by justafan on Jan 22, 2020 23:52:43 GMT
As someone who went to the Gala performance last week I wonder what made it a Gala ? It didn’t appear any different to any other performance
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Post by MrBraithwaite on Jan 23, 2020 11:54:48 GMT
It was very cluttered with props and scenery. [...] A lot of stuff happens on stage concidering the last time I saw it was the concert were they stripped away everything I wonder if they are just making up for it now. I found the same with the Miss Saigon revival, a lot of people hanging around scenes and doing stuff. Didn't annoy me there though, but I only saw the original production once, know the original Les Mis Version much better.  |
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Post by scarpia on Jan 25, 2020 15:14:10 GMT
Otherwise call me biased towards the older production but the London show has now lost its unique look. Where it was down to the cast to bring Victor Hugo's huge story to life with the occasional big set and the turntable keeping the show flowing thanks to a visionary creative team. It now feels like any other West End/Touring production in the past decade. What annoys me most is that I wanted the new production to improve the orchestrations so I can hear the music boom out as it does in the touring production. Nah, its just as underwhelming in that small orchestra pit as it was in the old version. I've always thought the new orchestrations sound very thin. I could live with the synthesisers standing in for the orchestra pit members who lost their jobs when the show transferred from the Palace, because even with the sound being synthesised it sounded far more grand using John Cameron's orchestrations. I didn't like it when they shoved the tour orchestrations into the Queen's. Some epic moments just sound like whimpers now. One bit I particular miss is the countermelody played by the strings during 'What have I done?'. The transition to Paris also lacks the majestic sweep and epic scale of the original. |
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Post by 141920grm on Jan 25, 2020 22:35:18 GMT
I've always thought the new orchestrations sound very thin. I could live with the synthesisers standing in for the orchestra pit members who lost their jobs when the show transferred from the Palace, because even with the sound being synthesised it sounded far more grand using John Cameron's orchestrations. I didn't like it when they shoved the tour orchestrations into the Queen's. Some epic moments just sound like whimpers now. One bit I particular miss is the countermelody played by the strings during 'What have I done?'. The transition to Paris also lacks the majestic sweep and epic scale of the original. Please can we petition for them to reinstate the earlier orchestrations!? I agree so much about this new score lacking the sweeping grandeur it used to have, and together with the new set & staging which are indisputably much more pared-down no matter how tech-y or streamlined they've made it, this new production all feels like Les Mis "Lite" to me- and will become even more dependent on the nightly tip-top performance of the actors to hold up the show, which won't always be the case as everyone's human and has off days. It's left me with the feeling that there's a lot less beauty and magic that the old score & the revolve used to inspire. |
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Post by Deleted on Jan 30, 2020 11:00:12 GMT
Great to see this last night!
Theatre renovation wise I did find it slightly style over substance. The auditorium does LOOK gorgeous. But on a practical level, legroom is much the same, offsetting of seats in stalls is suboptimal, the FOH areas are still congested. And the men's loos in the stalls and on the ground floor remain very cramped with just one cubicle. So I wouldn't say overall the renovations have made the time pre show more relaxing. Though I do appreciated Dame Cameron is mainly concerned with colour schemes. Apparently the women's toilets are better?
As for the show, great as ever. It is of course the 2009 production but I noticed lots of subtle differences from the current tour, so the directors have clearly looked at things again. Which I guess brought a bit more 'freshness.'
The set is the same, other than a new exit/entrance downstage right and a couple of small extra barricade pieces that swung in in front of it from the wings on both sides. One thing I did feel was that it looked slightly cramped in the Sondheim. I have seen the tour so many times though, mainly in Bristol Hippodrome, Birmingham Hippodrome, Manchester Palace and Lowry that I think I am just used to seeing this set on a massive stage. As such it lost that impressive scale, but I suppose gained intimacy.
Won't go through entire cast, but they are all very strong as you'd expect. Nice to get back to a calm atmosphere after the concert too. Made me hope for a cast recording, but as we already have the 25th one and apparently are getting a concert one (though I don't see it on Amazon - perhaps it's just a DVD now) I guess is unlikely. Some subtle updates to the orchestrations and the sound was perfect. The consistency police will be pleased to know that young and adult Cosette were both white and young and adult Eponine both black.
The cast board lists the leads, then rather annoyingly lists the entire company including people who are off. Means you don't know from it which swings are on and which ensemble off. Managed to work out Sake Wijers was on as Feuilly but only as I was close to the stage and he has fiery ginger hair.
No souvenir brochure yet which I was surprised by as Cam Mac normally gets them out very promptly. Woman at the merchandise stand said she didn't know if they were getting them at all. (I am sure they will though!)
So overall thought it was very strong. But I still missed the iconic original. There is the following note in the programme from Cameron:
"The original production came out of the peak of Trevor Nunn and John Caird's creativity at the RSC and it was very much in that RSC style - incredible marches sweeping against the black box surrounds. It was a feat of staging but it was of it's period."
Have to say I disagree with this. Yes it had the classic mega musical feel. But black box staging is not of it's period. It is a completely timeless way of staging things.
But anyway, we are where we are, and I look fwd to many more visits to the Sondheim over the years.
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Post by BurlyBeaR on Jan 30, 2020 11:12:20 GMT
I can’t understand why they have chosen not to show the year/location in the new version. All those projections and yet this important (and useful for new viewers) information is omitted. I think it’s potty.
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Post by BurlyBeaR on Jan 30, 2020 14:26:09 GMT
They’ve already got the projector. If they need me to knock up a couple of slides on PowerPoint, no problem. I’ll use that curly writing font.
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Post by kimbahorel on Jan 30, 2020 15:04:39 GMT
It took me forever to quote and my internet kept going on and off. So the comment with saying about little Cosette and Eponine matching the older adults. Its the same with the old production they have rotating children and when I went they had 2 white girls on for the littles.
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Post by danb on Jan 30, 2020 15:06:14 GMT
They’ve already got the projector. If they need me to knock up a couple of slides on PowerPoint, no problem. I’ll use that curly writing font. I’ve often thought a bit of Comic Sans would liven Les Mis up a bit. ‘It might be Hugo but it has to be fun fun fun’ (sic) |
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Post by 141920grm on Jan 30, 2020 15:12:46 GMT
We'll just have to bring our own pico projector into the show and beam the text onstage at the right time
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Post by BurlyBeaR on Jan 30, 2020 15:24:59 GMT
Or maybe FOH could flip their picture of a mobile phone with a cross through it, and on the other side reveal the date and location for the next scene. Give them something to do!
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Post by Deleted on Jan 30, 2020 17:41:25 GMT
They’ve already got the projector. If they need me to knock up a couple of slides on PowerPoint, no problem. I’ll use that curly writing font. I’ve often thought a bit of Comic Sans would liven Les Mis up a bit. ‘It might be Hugo but it has to be fun fun fun’ (sic) Brilliant! There were a few raised eyebrows when I let it slip that the Piecrust Players were having a bash at Boublil&Schönberg but I THINK we’re getting there.... |
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Post by Deleted on Jan 30, 2020 20:00:25 GMT
And the men's loos in the stalls and on the ground floor remain very cramped with just one cubicle. I did notice an extra one added just off the main foyer, didn't check it for cubicles, is that the one you mean? All those projections and yet this important (and useful for new viewers) information is omitted. I think it’s potty. Do you have ANY idea what a projector costs these days, young bear? Thought not, or you wouldn't suggest a multi-billionaire producer spending tens of millions on a re-working would even think of such a thing... . I mean, £30 on ebay. Yes as you walk through the foyer and ground level, turn left towards the lower (by row A) circle entrance, opposite and just along from cloakroom. Used to be a cramped men's loo with two cubicles, no urinal. No cramped loo with one cubicle, two urinals! |
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Post by justafan on Jan 31, 2020 19:29:36 GMT
^Guess they used all the extra space for the ladies, then. I wish 🤨 |
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Post by Deleted on Feb 1, 2020 16:06:51 GMT
They’ve already got the projector. If they need me to knock up a couple of slides on PowerPoint, no problem. I’ll use that curly writing font. Well it was meant to be a secret, but I am one of several aerial artists hired to fly in the date titles to offer a Cirque de Soleil flourish to this classic musical. Our training has been limited for reasons I cannot disclose, so it is unsure when this new feature may appear during a performance. |
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Post by xanady on Feb 3, 2020 14:33:50 GMT
Wonderful article about the Queen’s Theatre refurb in last week’s Stage newspaper by Tim Bano..Fascinating stuff.
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Post by 49thand8th on Feb 3, 2020 15:17:29 GMT
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Post by david on Feb 3, 2020 16:06:23 GMT
Wonderful article about the Queen’s Theatre refurb in last week’s Stage newspaper by Tim Bano..Fascinating stuff. I'm hoping that in the Open London weekend in September that there will be a backstage tour similar to the Victoria Palace tour last year as I have yet to visit the Sondheim Theatre. |
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Post by 141920grm on Feb 25, 2020 1:59:28 GMT
Saw the show this evening and WOW. Completely blown away. The incredible power and control in alt Valjean Luke McCall's voice just gets better with every performance; Richard Carson's Javert was superbly complex (only his 4th performance as u/s) and his Confrontation and Suicide had us holding our breaths; Leo Miles as u/s Enjolras has a glorious voice and a truly commanding presence; Gerard Carey (he's back! doing 4 shows this week and 6 the next) is a bonkers Thenardier and captivated us every moment he was onstage. If you'd thought Ian and Josefina were wonderful, Gerard and Josefina are next level w-i-l-d.
Interestingly enough when compared to the principals, this combination of alts/understudies all had a more old-school approach to their characters- for the first time since last July I felt like I was watching classic Les Mis again (after having seen this new production 10+ times), there was not a dull moment*, each scene brought a new wave of energy that built onto the next and we were buzzing till the end! Best show I've seen so far, obviously very happy about it!
*those moments that prompt you to think, oh but the old staging did this much better!
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Post by Lemansky on Feb 25, 2020 9:43:10 GMT
Would anyone be able to help with the views from the upper circle for this? I've sat in row A and C previously, but not since the refurb. Has anyone been recently that can give an insight into sightlines etc? Many thanks!
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