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Post by ali973 on Nov 6, 2018 14:39:42 GMT
I think GREAT COMET could do very well as a standalone event at a tend the way it appeared in its earlier incarnations. I loved it in a Broadway theatre, but I think it has the potential to position itself as a unique evening out rather than a night at a theatre.
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423 posts
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Post by dlevi on Nov 6, 2018 15:20:16 GMT
It's not the first time the Nash has received and presented a US production in its entirety, and it won't be the last, and it's not even something that's exclusive to Rufus Norris. Granted, we usually get the productions *after* the US run so this is unusual, but it's not unusual for being a production that didn't originate at the NT. That’s true but it’s the first time I’ve seen a solicitation for investment in a shows future, Disney, Rudin and Sonia Friedman are far more discreet about their involvement in enhancing shows at the National. This just sort of offended me. |
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3,057 posts
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Post by ali973 on Nov 6, 2018 15:31:55 GMT
The official but kind of sketchy Hadestown website (not part of the NT) has a Contact Us drop down that gives you an option to inquire about investing in in the show as well. I signed up for it (not that I'm cash rich, but just wanted to see how these things work) but never heard back.
Out of curiosity, would someone be kind of enough to take a photo of the bio/email and send it to me please?
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423 posts
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Post by dlevi on Nov 6, 2018 17:23:04 GMT
The official but kind of sketchy Hadestown website (not part of the NT) has a Contact Us drop down that gives you an option to inquire about investing in in the show as well. I signed up for it (not that I'm cash rich, but just wanted to see how these things work) but never heard back. Out of curiosity, would someone be kind of enough to take a photo of the bio/email and send it to me please?  Here you go: |
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3,057 posts
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Post by ali973 on Nov 6, 2018 17:32:40 GMT
Thank you.
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Post by Deleted on Nov 6, 2018 18:07:59 GMT
Did nobody see Mission Drift in the Shed (a great strange fever dream of a show, which I loved)? That gives a good idea as to Chavkin’s very different approach to musical theatre. I love Mitchell’s music (I’m a sucker for anything folky) and Chavkin’s a good fit for a show that isn’t your typical fare. It’s likely to be hampered, though, if people have different expectations of narrative, use of song etc.
On the NT doing new musicals, does anyone remember Jean Seberg in the eighties? There was Honk (fine but not really the sort of show that needed to be there) and London Road and Jerry Springer the Opera, neither of which couldn’t have been given the opportunity commercially, given their different approach. The Light Princess, which was fine but with Marianne Elliot not quite making the case for it. I’m thinking if there were any more, Tyger way back in the seventies, a sort of William Blake revue, Hiawatha in the early eighties adapted by Bogdanov (broadcast on Channel Four but I’ve never seen a copy).
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460 posts
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Post by pianowithsam on Nov 6, 2018 19:52:51 GMT
Great Comet is a show like no either.
A unique experience, or so I've heard.
Would love to see it over here though.
Not at the National though, doesn't suit the show in my opinion.
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Post by Deleted on Nov 7, 2018 23:12:59 GMT
Guys! You had me quite worried. Naughty Theatreboard!
I thought this was great! Seems like it’s been trimmed and tightened since others have posted, with each act just over an hour. I don’t think the revolve was over used, it worked well to show the transitions between Earth and Hell (Hadestown). There’s are a few areas that could be developed and tweaked but I’ll go into that further another time.
I have got to say though, the sound on this was phenomenal!!! I’m really a stickler for sound on shows and can get quite judgey but this was borderline flawless, for a show less than a full week into previews, nailed it. A really full bodied sound. And by god Patrick Page’s baritone-bass almost stole the show, rightfully so.
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Post by yokollama on Nov 8, 2018 0:16:15 GMT
This show's getting people rather divided, huh? I caught the Saturday evening show and thoroughly enjoyed it, though it could do with a bit of tightening of the 2nd act and/or shortening some of the songs. Unfortunately, I managed to warm up to everyone but Eva and Reeve Carney.
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Post by Deleted on Nov 8, 2018 1:27:18 GMT
In its current form it is a bit marmite.
I can’t sleep, thinking about it and I think I’ve just cracked what’s wrong with it.
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Post by Deleted on Nov 8, 2018 1:36:08 GMT
In its current form it is a bit marmite. I can’t sleep, thinking about it and I think I’ve just cracked what’s wrong with it. Write it down before you forget ? |
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Post by Deleted on Nov 8, 2018 9:55:39 GMT
In its current form it is a bit marmite. I can’t sleep, thinking about it and I think I’ve just cracked what’s wrong with it. Write it down before you forget ? Oh I did but alll the thoughts remain this morning. |
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Post by Deleted on Nov 8, 2018 10:57:14 GMT
Is it Orpheus? I've yet to see the show, but based on my many listen-throughs of the cast recording, I think Orpheus himself is a big ol' problem.  |
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Post by Deleted on Nov 8, 2018 11:22:03 GMT
Is it Orpheus? I've yet to see the show, but based on my many listen-throughs of the cast recording, I think Orpheus himself is a big ol' problem. Fundamentally yes. Aside from the fact he’s the odd one out on stage looking and sounding like he turned up at the wrong show (more American Idiot than Orpheus), he’s written poorly. As a principal character, technically lead - it’s his story ultimately - he’s under developed and lacking a few crucial elements. It’s not helped by the fact that all the other principals address the audience and recognise them in their songs, Orpheus sings at the audience but doesn’t ever engage them and that isolates him. As there’s no connection to the audience your left not really caring about his fate at the end. There is a really obvious (in my opinion) solution to this but I’m not posting that yet. |
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Post by andrew on Nov 8, 2018 11:40:37 GMT
Can I just confirm with the other members of ODRAS* that the drum revolve is not actually in use in this show? Rather they've built a new revolve system with it's own lift for this, and dearest drummy just stays still for the whole evening?
In terms of the show, others have said everything to be said, I thought it was good but not great, a lot of which could be fixed before another production. The only thing that nobody else has mentioned is how every song ends in a manner that invites applause, even when that stops the story, or is incongruous with the atmosphere or mood they've tried to create. I'm not against having some big ending numbers, some musical theatre buttons, but equally you have to look at where applause is detrimental to your show, and either score it or direct it so that it doesn't occur there.
*Olivier Drum Revolve Appreciation Society
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378 posts
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Post by Ade on Nov 8, 2018 12:02:42 GMT
Can I just confirm with the other members of ODRAS* that the drum revolve is not actually in use in this show? Rather they've built a new revolve system with it's own lift for this, and dearest drummy just stays still for the whole evening? In terms of the show, others have said everything to be said, I thought it was good but not great, a lot of which could be fixed before another production. The only thing that nobody else has mentioned is how every song ends in a manner that invites applause, even when that stops the story, or is incongruous with the atmosphere or mood they've tried to create. I'm not against having some big ending numbers, some musical theatre buttons, but equally you have to look at where applause is detrimental to your show, and either score it or direct it so that it doesn't occur there. *Olivier Drum Revolve Appreciation Society Definitely not the drum revolve was my opinion. Looks smaller and nearer the front of the stage. |
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Post by QueerTheatre on Nov 8, 2018 12:42:45 GMT
I saw this last night, and i'll start by saying it was a preview... and a preview for a try out, and well... you can tell.
The narrative focus of the show is all over the place, with act 1 ending 1 song too late and act 2 featuring very little action but a lot of running on the spot and 'oh sh*t, this budget lighting effect has trapped me'
Act 1 needs to end after Orpheus goes into the underworld, and then open with Why We Build The Wall (though this needs to be better contextualized... though this is a note for the entire world of the show - the lyrics arent specific enough on their own, and the set does nothing to help) and then Act 2 needs a longer focus on THE ACTUAL WALK OUT OF THE UNDERWORLD. This is the main thing people know about this story, the walk and the look back... but they take about 3 minutes of this production.
Also the 2 leads need recasting, and the chorus need new costumes.
It was fine, but after great comet & the word of mouth from the american board i was ready for something really special. This is not.
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1,081 posts
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Post by andrew on Nov 9, 2018 11:12:02 GMT
THE MAIN THING is that it's a show in the National Theatre that doesn't completely stink, always worth marking in recent times.
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Post by Deleted on Nov 9, 2018 13:47:45 GMT
Well. I was down in Hadestown last night. Down, down, down in Hadestown. Down, down . . oh stop it. It's rather a queer one I thought although I think I ended up rather liking it. It's like a jukebox musical of other musicals. There's a bit of 'Once', some 'Urinetown', a touch of 'Girl From the North Country', miners straight out of 'Billy Elliott' and the revolve from 'Les Miserables'. It was very comforting. And it detracted nicely from some of the interminable songs. Although there were a couple of nice ones. One about "i'm coming" and the "la la la la la" one which strangely kept making me think of 'Song on the Sand' from 'La Cage Aux Folles'. Not quite the effect they were going for one supposes but a delightful song all the same. So much so that they repeated it about half a dozen times just to make sure that it stuck in your head. Something about sharing, something about always I think . . Yaël Farber fans will be delighted. There is a LOT of walking about. And some running. All on the revolve. The Dramamine bills must be astronomic for this production. Have they shrunk the Olivier stage though? It looked tiny from where I was sat. On the plus side, you get the delightful Reeve Carney who I actually thought was perfectly cast. He's pretty as a peach, has natty taste in braces and has a lovely dusky voice. Then he seemed to be as taken by surprise at hitting some very very high notes as I was, bless his heart. Eva Noblezada was less effective I thought. She's got a really lovely voice but she was woefully miscast. She was just too perky and nice. I don't think she'd have lasted a minute down in 'Hadestown'. Down, down, down in 'Hadestown'. Down down . .
You do also get a constantly moving revolve which threatens to throw people off left right and centre at any point, a platform that keeps coming up and down on the stage that's on overdrive, Andre De Shields flitting around the stage like the love child of Huggy Bear from 'Starsky & Hutch' and Mr Humphries from 'Are You Being Served?', the Supremes (sans Miss Ross) auditioning for Norma Desmond in 'Sunset Boulevard' (it's a turban trilogy) and Amber Gray stealing the entire show as Persephone. A gal after my own heart with a constantly filled hip flask, she's really quite the sensation. I'd like to see her rewarded come awards nomination time.
A note to the director though, currently we get a really pits ending to act one. Reeve sings the "i'm coming" song which is a terrific act one finisher and then we get another number which drags a little bit. Sort it out will you.
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Post by Deleted on Nov 9, 2018 14:12:10 GMT
Right then. Sat at a computer now so I can type up my thoughts properly.
On paper, this adaption of the Orpheus story works but it's somewhat lost in translation on stage. I think the fundamental reason this doesn't work is the audience doesn't buy into the Orpheus/Eurydice relationship. He too quickly propositions her with marriage for no reason and then abandons her to write music, albeit to secure their future, resulting in Eurydice's frustration triggered deal with Hades. Reeve Carney lacks the ability to connect to - and engage - the audience in the same way the other principals do. I was genuinely surprised to read he can actually play the guitar because the two chords he strums unconfidently for the duration of the production demonstrate no ability. The love song that the whole show revolves around (see what I did there?) is the weakest of the lot and that is a big issue. It should be the biggest, most provoking of the evening but its bi-chord composition lacks substance and leaves you feeling empty and questioning Hades' resolution.
Another flaw I found, was that there wasn't a solid enough definition of when or where this piece is rooted. There are strong visual clues to the Depression-era in its visual styling but then theres a jukebox on stage. Why? At no point does anyone go near it. There is no reference to it or interaction with it. Ever. It is pointless and only serves to demonstrate a distraction in the designers objective. They'd be better served loosing that and putting a big, rusty, steel radiator there which hints at and ties the implied location to the later seen Hadestown. In terms of design I think they could play more on the steampunk elements make more of it.
It's also not obvious why everyones in the same space at the beginning, or what the space is. It could be a bar, but theres no bar, because it's prohibition era I assume. But that leaves questions and uncertainty. Audiences need spoon feeding. They'd be better playing on the Prohibition element, making it obvious everyone's in a prohibition bar to start with; Hermes' bar with The Fates as his bar maids and we (the audience) the guests.
Hades needs to loose the sun glasses. With his leather trenchcoat he looks like he's fallen out of The Matrix and even if thats a deliberate, very juvenile pun (Morpheus/Orpheus) it doesn't look right because of the unclear setting of the piece. If they want to give Hades an element of mystery and physical barrier which he removes to 'reveal' he should have a Stetson. Yes, probably means they'd need a second microphone, the additional embedded in the hat, but its a necessary complication.
I think Persephone needs to channel more of her inner Mrs Lovett. She's a good character but jumps too quickly from drunk to sober and back. She'd work if she was a bit more continually unhinged. Also stop calling her wicker bag a suitcase or actually give her a suitcase. That wicker bag another prop looking very out of place.
Generally the lighting was good but Act 1 is too bright overall. Again for the implied prohibition-era there was too much light exposing everything including the writing.
Absolutely agree that Act 1 should end with Wait for Me and Act 2 open with Build the Wall. There was a 'song' towards the start of the second act which isn't on the live Soundtrack, cant remember much about it other than is being quite dissonant; perhaps it was more dialogue with underscored noise either way it was an absolute chore to sit through and needs cutting or rehashing.
Those are some of the more prevalent thoughts I've had. I did really enjoy it however and have to once again say how brilliant it sounded. I think if they give Orpheus a reason to love Eurydice (there's a really obvious, simple solution here that the writers are scratching around but haven't excavated yet) and fix the love song thats the majority of the battle fought.
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Post by Deleted on Nov 9, 2018 14:30:22 GMT
Oh, also. Something they need to fix for the Broadway run. The overall stage design is great in the theatre and it really works for the piece but on a smartphone it doesn't photograph well.
This may sound like a trivial point (and it shouldn't be the case) but in this age of social media and hashtaggery I think designers needs to be considering how stages look on smartphones for instagramming etc.
Look at the simplicity of Company. You get in the auditorium and you've got a big black wall and the word Company backlit. Thats all people can photograph and its everywhere, all over instagram, and even those inept at smartphones can take a good photo of it.
The set of Hadestown is incredibly detailed and looks amazing, but takes some real work to get a decent smartphone photo. Again this comes back to lighting, its lit too bright to begin with.
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Post by harlow on Nov 9, 2018 14:35:18 GMT
Agree that there are some overwhelming problems with the production, but I still took a lot from it and will probably try and see it again. The music is beautiful (for the most part, there are some glaring errors) but was genuinely disappointed with the changes made to what is the 'heart' of the piece for want of another term, Orpheus' song "Epic" which had an addition at the beginning something along the lines of Here is Hades, and Persephone, "I don't know how it ends/ but this is how it begun..." which seemed to do nothing other than ruin a really (otherwise) beautifully written song. It should start with "King of diamond, king of spades, Hades was king of a kingdom of dirt.."
Admittedly I've been a fan of Reeve Carney's music for a long time, and while I was taken with his voice I thought he was underused for all the talent he has. Strange they didn't use his musicianship for much other than some pretty flat guitar chords. I know he was what many of you felt was wrong with the show - but for me it was more the lack of chemistry he had with Eurydice than his own performance (which I found compelling). I was sat rather close (Stalls H) so can't speak to how he was read further back but he definitely interacted with the audience a lot and drew you in.
As most of you have said Act 1 should end with Orpheus' arrival in Hades, an extension of their walk out of the underworld, and more made of Orpheus' look back at Eurydice. But please, NOT more actual walking... some of that running on the spot gave me horrible flashbacks to Obsession.
I'll take a ticket to the Persephone show any day of the week. Amber Grey was phenomenal.
For me it's a a 5 star show hiding beneath 3 star direction, so you have to squint a bit to see how magnificent it could be.
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Post by herculesmulligan on Nov 9, 2018 18:01:59 GMT
Am seeing this tomorrow, do I need to know anything about it or the story it is based on to enjoy it?
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Post by Deleted on Nov 9, 2018 18:08:24 GMT
Am seeing this tomorrow, do I need to know anything about it or the story it is based on to enjoy it? Not at all. Its all self explanatory. Listening to the live recording on Spotify now and reliving the show over in my head. Absolutely need to see this again. |
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728 posts
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Post by sophie92 on Nov 9, 2018 20:42:48 GMT
Watching tonight, currently in the interval, and just thought I would add my voice to those saying Act 1 should end with Wait For Me - completely agree. It feels like an act closer, and the way they’re staging it makes it seem like the act closer...and then it’s not.
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