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Post by sf on Jun 14, 2018 14:30:57 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road.
It's by Canadian writers, and was written for a Canadian audience, although it ended up being produced in the US first (there were workshops at Sheridan College in Oakville, just outside Toronto). 9/11 belongs to New York, Washington, and Shanksville, PA - but this particular related event belongs to Canada (and not just to Newfoundland, because Gander wasn't the only place where the locals took in passengers who were stranded when US airspace closed).
Emotional resonance? Certainly for me the recording has it - but then, I was living in Canada on 9/11.
That said, the title is specifically a Newfoundland expression rather than a Canadian one - but it does make perfect sense. I'm sure it'll be just as possible to sell the show with that title in London as it has been in New York - that particular expression is no better known in the US than it is here.
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Post by Deleted on Jun 14, 2018 14:42:45 GMT
Surely you cannot judge a musical by listening to the cast recording. Yes and no. You can get a good idea of how much you like the music, and a reasonable idea of who the characters are and what the story is (obviously depending on how complete the recording is; sung-through musicals lend themselves more readily to audio-only judging than musicals with lots of book scenes). I mean, I was a kid before the internet, and I didn't start going to the theatre as an active hobby until I was an adult, so I didn't have regular theatre trips and bootlegs and YouTube to work with. *All* I had was the cast recordings, but that didn't stop me loving the musicals I listened to. I think as long as you're open to the possibility that seeing a production performed may change your opinion, it's reasonable to make a fair amount of judgement based on the cast recording. Especially nowadays, when there *is* so much more available online than there was when I was a teeny wee theatre kid. |
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Post by 49thand8th on Jun 14, 2018 14:49:54 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road. That's interesting, because I first saw the show at Ford's Theatre in Washington DC and wasn't sure how it would play here in NYC due to the location. But lo and behold! Also, musicals about a specific event or country have done well outside their sphere of direct influence. Remember Evita? |
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Post by Deleted on Jun 14, 2018 14:55:26 GMT
^ I wish it well, I really do, and I'll be booking tickets. I suppose where I'm coming from is what kind of musical really gets punters coming into the West End these days? Things like a Disney, a jukebox, something that's been running for years and years, or something with somebody off the telly in it. Depressing really, but true.  Edit: with regard to the title, it’s not a term I’m familiar with, and I’ve had a quick Google and I’m still not sure what it means. I’m not always well informed, I’ll admit, but I’m not particularly thick. I just think the average person on the street won’t have much of a clue either. But I’m willing and not too proud to be proved wrong. |
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Post by Deleted on Jun 14, 2018 14:57:38 GMT
I definitely think this will rely on word of mouth just like Broadway, which propelled its success and popularity. No, it’s not an instant sell on the surface but the material and product sells itself when experienced in the flesh. I almost bypassed it last April on my trip to NYC, but the momentum of strong recommendations was just gathering pace - I was able to easily get Rush tickets without queuing at silly o’clock (unlike now). I would urge people to go along even if the cast recording doesn’t appeal right now. For me, many musicals cannot be judged purely by the numbers out of context, as they weren’t written to be judged in that manner.
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Post by Deleted on Jun 14, 2018 14:59:03 GMT
^ I wish it well, I really do, and I'll be booking tickets. I suppose where I'm coming from is what kind of musical really gets punters coming into the West End these days? Things like a Disney, a jukebox, something that's been running for years and years, or something with somebody off the telly in it. Depressing really, but true. Hamilton ticks none of those boxes though, so it is doable.  |
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Post by Mark on Jun 14, 2018 15:06:32 GMT
As someone who’s seen the show 3 times (twice on Broadway and once in Toronto), it’s not something I really listen to a lot, aside from a few songs, but when you are watching it in the theatre it is pure magic. I was talking to a friend who is a big supporter of “new” musical theatre, and we both agreed a lot of new British musical theatre looks incredibly lazy when you would place it next to Come From Away. The writing is so tight. It’s also about an hour 40 straight though, bound to be popular with theatreboarders for that alone!
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Post by 49thand8th on Jun 14, 2018 15:07:31 GMT
That is absolutely the case. I love it but I also don't listen to it a whole lot. The show is speedy, efficient, and heartfelt.
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Post by Deleted on Jun 14, 2018 15:20:11 GMT
I can't wait for it to come over. I'm learning Canadian in preparation. I can say "aboat" instead of "about" and I'm trying to finish all sentences with "eh". I already have part of my opening night outfit ready, eh.  |
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Post by Deleted on Jun 14, 2018 15:34:32 GMT
Cast of a dozen, design on a human scale, it stands a decent chance of more than breaking even. It’s also a welcome reminder in these dark days that Canada is not the enemy....
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Post by Deleted on Jun 14, 2018 16:53:36 GMT
Surely you cannot judge a musical by listening to the cast recording. I didn't judge the show, I judged the Cast Recording. Which I think is OK to do if you listen to a Cast Recording. |
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Post by Phantom of London on Jun 14, 2018 17:05:15 GMT
I can't wait for it to come over. I'm learning Canadian in preparation. I can say "aboat" instead of "about" and I'm trying to finish all sentences with "eh". I already have part of my opening night outfit ready, eh. You can also have a couple of brownies for breakfast. |
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4,968 posts
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Post by Phantom of London on Jun 14, 2018 17:28:53 GMT
I really like the idea of a new musical in the West End, and the Phoenix definitely needs something a bit special to make it rise from obscurity but... the show’s title... it doesn’t make sense, does it? I’m sure it will, if you go and see it, but it doesn’t exactly let an audience in. And then the subject matter... Yes, 9/11 affected us all, but it’s something that really ‘belongs’ to New York, and I wonder if that’s why it’s playing to packed houses there. I think I’d feel it had more resonance if I saw it on Broadway rather than just off Charing Cross Road.
It's by Canadian writers, and was written for a Canadian audience, although it ended up being produced in the US first (there were workshops at Sheridan College in Oakville, just outside Toronto). 9/11 belongs to New York, Washington, and Shanksville, PA - but this particular related event belongs to Canada (and not just to Newfoundland, because Gander wasn't the only place where the locals took in passengers who were stranded when US airspace closed).
Emotional resonance? Certainly for me the recording has it - but then, I was living in Canada on 9/11.
That said, the title is specifically a Newfoundland expression rather than a Canadian one - but it does make perfect sense. I'm sure it'll be just as possible to sell the show with that title in London as it has been in New York - that particular expression is no better known in the US than it is here.
Before it came to New York and reading on an American message board Broadwayworld a lot on there were say they were going to skip this as the emotions are still too raw, low and behold this is a smash hit in New York, as the musical is a metaphor for 9/11 and really is about the people of Newfoundland, the show has heart and that’s what has came through and won the audience in NYC. |
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Post by david on Jun 14, 2018 18:32:21 GMT
Just had a listen to the OBC recording for the first time. I have to say I actually enjoyed the music and I can understand why people have taken to the show over in NY. The music and lyrics have lot of heart in my opinion and really capture the emotion of the events that the show portrays.
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1,970 posts
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Post by sf on Jun 14, 2018 19:16:17 GMT
the musical is a metaphor for 9/11 It isn't a "metaphor" for anything. It's about something that actually happened, which was part of the chain of events set off by the hijackings, and it draws significantly from interviews with real people. |
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Post by Rukaya on Jun 14, 2018 19:32:28 GMT
The thing with this show is that while it's about the events surrounding 9/11, in the same breath it really isn't about 9/11. It's about the humanity and kindness that a community delivered in a time of crisis and when you see it there's a real magic to it in the simplicity of it all. I know that makes me sound like a bit of a wanker but honestly, when I saw this I knew nothing about it apart from the 9/11 link and I was completely swept away; even though I was pretty much at the back of the theatre it was such a powerful piece that really moved me. I was a kid when 9/11 happened so I don't really have many visceral memories or connections to the event but I don't think that's necessary to feel the way a lot of people have felt about this show.
I do think it'll struggle to begin with to find an audience here and it *is* a hard show to market but I for one can't wait to see it again and I hope a lot of the theatre community fall in love with it like I have!
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Post by 49thand8th on Jun 14, 2018 19:36:21 GMT
as the musical is a metaphor for 9/11  ? |
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Post by 49thand8th on Jun 14, 2018 19:36:57 GMT
The thing with this show is that while it's about the events surrounding 9/11, in the same breath it really isn't about 9/11. This is the case. It's not so much a 9/11 musical as it is a 9/12, 9/13, 9/14 musical. |
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Post by apubleed on Jun 14, 2018 19:52:38 GMT
I have given the Cast Recording another listen today. I am on board with the message of the show, and some of the songs are great (namely Me and the Sky), but otherwise, I actually fipound myself quite bored. Alot of it feels just like filler tracks, the ones you skip over to get to the good stuff. That said, I hope it has a decent run in London. I won't book in advance or pay expensive prices to go based on prior knowlage of the show, but casting and reviews may tempt me. I do think that this will be a show that will need the reviews to work out. Because if people are worried about Dear Evan Hansen or Waitress coming over and not working out, this is probably the least known of them even to theatre fans, so it wil certianly be interesting to see how it pans out. Hopefully smart promotion and casting prior will help it. I saw the show in NYC and in my opinion the score, unfortunately, doesn't get any better in the theatre. The show is staged in an interesting way and has a lot of heart/great intentions. At best, it's entertaining, moving and heartwarming. But at its worst it is an amatuer hour exercise of musical composition, cliche, ultra/unrealistically politically correctness and can perhaps even be a bit boring. Still, I highly recommend any theatre fan to take a look. It's just that compared to the caliber of new musicals in New York (which, I must admit seems to be much higher than those originating here - no offence to us) - Come From Away does not compare. It robbed War Paint of a must more deserved Best Score nomination. |
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Post by partytentdown on Jun 14, 2018 20:35:07 GMT
But at its worst it is an amatuer hour I'd love to see some of the amateur shows you've seen if you think this was amateur. I guess everyone sees things differently, but of the 8 Broadway shows I saw last year, this was by a long shot my favourite and had the strongest audience reaction. I can't wait to see it again here. |
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Post by Deleted on Jun 14, 2018 21:18:01 GMT
Come From Away is to 9/11 as London Road is to the Ipswich prostitute murders.
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Post by Deleted on Jun 14, 2018 21:42:23 GMT
Any ideas when this goes on sale?
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Post by Someone in a tree on Jun 15, 2018 6:25:42 GMT
I can't wait for it to come over. I'm learning Canadian in preparation. I can say "aboat" instead of "about" and I'm trying to finish all sentences with "eh". I already have part of my opening night outfit ready, eh. You can also have a couple of brownies for breakfast. Hash brownies? |
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Post by popcultureboy on Jun 15, 2018 6:52:17 GMT
Any ideas when this goes on sale? I think I read that the official announcement of the show, with dates and on sale times, will be on Canada Day, which is Monday 2nd July. |
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Post by viserys on Jun 15, 2018 7:57:40 GMT
Oh brilliant, new month, new credit card period. Ahem.
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