1,563 posts
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Post by showtoones on Jul 8, 2019 20:13:25 GMT
How long did the show stop for this evening?
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Post by dontdreamit on Jul 8, 2019 21:04:34 GMT
How long did the show stop for this evening? It felt about 5 mins, may have been slightly longer. I was too busy explaining to my children what a show stop was (it being their first show stop!) |
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Post by NorthernAlien on Jul 8, 2019 21:13:30 GMT
How long did the show stop for this evening? Just under ten minutes - Company Manager came out and apologised immediately before the restart - blamed the computer operating the lift, but I think the top of one of the tiers got seperated from it's mechanism, from what I could see 'up in the gods'. Worryingly, the CM appeared to have a light already set for him to speak, House Right in front of the pit. |
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1,210 posts
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Post by musicalmarge on Jul 8, 2019 21:22:04 GMT
Time for the new production of “Joseph” at the London Palladium! I will try not to be rude but what we saw on the stage tonight was utter trash, uncomfortable and just torture to watch. Sheridan Smith not only looked physically terrible in an oversized jumpsuit but she can’t sing and she crooned and gurned her way through the first act winking at the audience and playing various roles in a hammy bad American, Indian, Yorkshire and Scouse accents. The whole production was directed for cheap laughs only and any class, nuance or sophistication thrown out the rehearsal window. The empty cheap set looked looked like something from Southend Amateur Operatic Society and it broke down half way through act one stopping the musical for 7 minutes (which was better that the show itself). This new revival is produced by Qdos the annual pantomime producers and that’s exactly what they have done; they have turned the stylish, clever and magical 1991 production I saw almost 30 years ago into an over the top, lumpy, clunky theatrical armageddon. I left at the interval..... An usher who saw us leave the theatre laughed and commented “she only gets worse in the second act”. Do not see this car crash of a revival.... in fact..... only go if THEY PAY YOU! Horrible. -3/10. #poorpoorjoseph
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Post by xanady on Jul 8, 2019 21:29:44 GMT
musicalmarge,I agree with every word of your review...a total travesty of a show...an attempt to ridicule the wonderful source material like this has turned it into a sad parody.The BK tours are better than this by a mile.
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133 posts
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Post by japhun on Jul 8, 2019 22:00:01 GMT
I was at tonight's performance and really enjoyed it- a lot more than I thought I would. Despite the technical glitch, I thought the whole show flowed well and that Sheridan was a refreshing and very likeable narrator. Jac Yarrow did an outstanding job as Joseph as well and the audience was (amazingly) on excellent behaviour- not a single phone screen, ding or annoying person around me, which is a refreshing change of late. This is meant to be a fun summer show for families and those who love the show and that is exactly what it is.
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1,481 posts
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Post by steve10086 on Jul 9, 2019 6:47:29 GMT
Time for the new production of “Joseph” at the London Palladium! I will try not to be rude but what we saw on the stage tonight was utter trash, uncomfortable and just torture to watch. Sheridan Smith not only looked physically terrible in an oversized jumpsuit but she can’t sing and she crooned and gurned her way through the first act winking at the audience and playing various roles in a hammy bad American, Indian, Yorkshire and Scouse accents. The whole production was directed for cheap laughs only and any class, nuance or sophistication thrown out the rehearsal window. The empty cheap set looked looked like something from Southend Amateur Operatic Society and it broke down half way through act one stopping the musical for 7 minutes (which was better that the show itself). This new revival is produced by Qdos the annual pantomime producers and that’s exactly what they have done; they have turned the stylish, clever and magical 1991 production I saw almost 30 years ago into an over the top, lumpy, clunky theatrical armageddon. I left at the interval..... An usher who saw us leave the theatre laughed and commented “she only gets worse in the second act”. Do not see this car crash of a revival.... in fact..... only go if THEY PAY YOU! Horrible. -3/10. #poorpoorjoseph Oh god, I’m seeing it tomorrow night. Will do my best to have fun (it cost enough) but am not very hopeful. |
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367 posts
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Post by Jonnyboy on Jul 9, 2019 6:51:28 GMT
Is it not really unprofessional for ushers to comment in this way about the production/performers?
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Post by theatremadhatter on Jul 9, 2019 9:45:25 GMT
Forgive me if this has already been said but I’ve been thinking if it was widely agreed (and rightly so imo) that Jonathan Pryce was wrong to play The Engineer and since then we’ve come so far in regards to ethnic minority representation in theatre. Why aren’t people up in arms over this? Maybe they are but I haven’t seen it. Seems like it seems to get away with it, especially when ALW has been so vocal about Diversity and has Diversity School initiative and he says his foundation grants were diversity led. Just seems off to me. I hope the same doesn’t happen to Prince of Egypt. Just like when Christian Bale player Moses I guess!
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Post by Deleted on Jul 9, 2019 10:36:42 GMT
If a characters race is an integral part of the story, like The Engineer in Miss Saigon, then it should be played appropriately by a suitable actor.
But if you're playing fictional characters where race isnt an integral part of the story, like everyone in Joseph, then you can cast it anyway you want.
There is absolutely nothing to be up in arms about.
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Post by NorthernAlien on Jul 9, 2019 11:38:25 GMT
So, I'm thinking this is a 'Marmite' show - you'll either love it or hate it.
Personally, I enjoyed it. I thought it was fun, and I think it's interesting using the kids the way they have. The 4th wall is not so much broken as smashed down, and the whole thing _could_ be considered to have a very Brecht-ian air about the fact that no-one's pretending that it's anything other than a bunch of people dressing up.
There is some diversity in casting in that the brothers, wives and kids aren't all white, but obviously the three main characters are.
I thought Sheridan did well. She was obviously nervous for the first minute or so, but then she relaxed into it, and by the time we got to the technical problem she was obviously really enjoying herself. For them to pick up exactly where they left off when they came back is no mean feat, and given that Jac Yarrow's big 'Close Every Door' moment comes straight afterwards, I give him kudos for delivering a really nice rendition of that number.
Jason Donovan is much improved from the BGT disaster. Someone has drilled the choreography into him, whilst also managing to have him reference previous roles in both Rocky Horror and Priscilla. Last night his speaking voice was croakier than his singing voice. He's also got his legs out, so someone's plainly had a word with the costume designer about What Certain Sections Of The Audience Will Want. On the subject of costumes - why oh why couldn't they have put Sheridan in a pair of nicely tailored trousers? The jogging bottoms aren't do anything for her at all.
I'm going to guess that the audience for this is people who take their kids to panto, and people who go to the Strictly live tour - not 'regular theatre goers', but people who want to know that for the money they're spending, they're going to have a good time, and that they already know before they arrive what the show is about. On that basis, it works. It's loud and brightly coloured, and the audience loves the three leads. I just really hope they can get the tech issues sorted out - have they got through a performance without stopping yet?
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Post by Deleted on Jul 9, 2019 11:46:13 GMT
I'm going to guess that the audience for this is people who take their kids to panto, and people who go to the Strictly live tour - not 'regular theatre goers', but people who want to know that for the money they're spending, they're going to have a good time, and that they already know before they arrive what the show is about. On that basis, it works. It's loud and brightly coloured, and the audience loves the three leads. I just really hope they can get the tech issues sorted out - have they got through a performance without stopping yet? I agree. And whatever the reservations of those of us who are regular theatre goers - as a commercial enterprise - the producers have nailed this. There is a whole separate argument to be had re what makes quality theatre and what Joe Public wants.... |
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3,444 posts
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Post by ceebee on Jul 9, 2019 12:00:55 GMT
I'm going to guess that the audience for this is people who take their kids to panto, and people who go to the Strictly live tour - not 'regular theatre goers', but people who want to know that for the money they're spending, they're going to have a good time, and that they already know before they arrive what the show is about. On that basis, it works. It's loud and brightly coloured, and the audience loves the three leads. I just really hope they can get the tech issues sorted out - have they got through a performance without stopping yet? I agree. And whatever the reservations of those of us who are regular theatre goers - as a commercial enterprise - the producers have nailed this. There is a whole separate argument to be had re what makes quality theatre and what Joe Public wants.... Well put. I never expected high brow theatre for this production. I just wanted to have a good time with my kids. It ticked every box and - most importantly - pretty much everybody young and old, was on their feet smiling and laughing at the end. It's a happy colourful production which really puts the music and lyrics at the centre of things. |
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Post by xanady on Jul 9, 2019 14:39:02 GMT
^Can’t let the comment on JP as The Engineer pass...Saw him do it live and nobody has ever come close imo....as for Joseph,well opinions are polarised on this.Interesting to see what the press make of it.
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8,112 posts
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Post by alece10 on Jul 9, 2019 14:39:47 GMT
To answer a couple of questions above.
Yes they have gone through a performance without any technical problems. I went to the 4th preview and it went without hitch. One of the Male dancers nearly dropped his wife during a lift but that was it from what I could see.
Also a mention above that the show would appeal to "non theatre goers" have to disagree as I am a regular theater goer (100 plus shows a year) and this very much appealed to me.
Certainly the night I went everyone around me was absolutely loving it. Full standing ovation and dancing and singing along to the mega mix. As I was leaving I could only hear positive comments. Maybe all the haters left before the end......
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Post by xanady on Jul 9, 2019 15:10:35 GMT
^It shouldn’t be about people being described or judged as ‘haters’,it’s about people having different likes and dislikes and if people want to walk out of a show they have paid good money to see or want to post negative comments on it...fine! Live and let live,I say.
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Post by musicallady on Jul 9, 2019 15:42:20 GMT
^Can’t let the comment on JP as The Engineer pass...Saw him do it live and nobody has ever come close imo....as for Joseph,well opinions are polarised on this.Interesting to see what the press make of it. I agree with you about JP. |
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Post by Steve on Jul 9, 2019 16:11:03 GMT
The shape of this show, a 'Variety Show Palladium Panto for Families,' squeezes in neatly next to 'the Variety Show Palladium Panto for Adults,' that they will put on at Christmas. It is a shape that "Joseph" has always lent itself to, given how many musical styles (calypso, jazz, Elvis style rock n roll, etc) the show playfully integrates, how much of the show is intrinsically jokes. But this time, I agree, with both the negative and positive reviews above, that sentiment has been wholly ditched for playfulness and laughs, bar the one exceptional moment that proves the rule, Jac Yarrow's "Close Every Door," which provides a five minute oasis of sentiment in a sea of smiles. Another thing I wholly agree with, in both positive and negative reviews above, is that this is "The Sheridan Smith Show." As an adult with a liking for sentiment, this isn't my favourite Sheridan Smith show, which was undoubtedly "Funny Girl," a show that allowed her to be two things at once, both a dazzling effortless Fanny Brice style show-fronting comedienne, but also a heartbreaking whirl of sentiment underneath. In a sense, this is a regression to a history that never happened, a life lived in reverse, where Sheridan Smith finally gets to BE Fanny Brice, rather than to play her. From Quick Change outfits and beards, to Quick change accents and genders, Sheridan Smith is luminous, somehow self-effacing and self-deprecating, while simultaneously the centre of a comic storm that never stops. If anyone ever wanted a time machine to expereince what a Fanny Brice show would have been like, just book this show. Sheridan Smith is as close to ring-mistress of fun, Fanny Brice as anyone has ever been. Of course, if you all you want is sentiment, this show will kill your spirit! It flags up aspects of "Joseph" that have always been about the jokes (Jason Donovan's rugged-and-ragged-singing Pharoah as Elvis, Benjamin's moral purity judged against the straightness of bamboo and bendy bananas), while displacing all the sentiment of Jacob-the-father-who-lost-his-son for just another quick-change-beard for the Ring-Mistress. But seen for what this is, a joyous and childlike Comic Variety show, in a Comic Variety House, with cheap and cheesy sets for a zany atmosphere, and a masterful central comic turn from Ringmistress Sheridan 'Fanny Brice' Smith, including Golden Oldie Guest Stars (such as Jason Donovan, his muscles, his past, and his glee at laughing at himself), as well as one All-new Can't Miss Young Act (Jac Yarrow giving his passionately sung, yet slightly restrained - a tonic perhaps to the pizzazz all around him - posh but Welsh Joseph), this can and will stimulate the laugh-muscles of eternal children, young and old, and provide a brief tonic to an external gloom settling in the Country without. If I had to choose between seeing this Panto, and the year-end one, I'd choose this one, as the Year End one is generally a more hit and miss affair (with only the Elaine Paige one truly funny), whereas this Production efficiently generates goodwill and laughter from first to last. And you can actually take kids to this one!  4 stars. |
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Post by FrontroverPaul on Jul 9, 2019 16:42:27 GMT
Time for the new production of “Joseph” at the London Palladium! I will try not to be rude but what we saw on the stage tonight was utter trash, uncomfortable and just torture to watch. Sheridan Smith not only looked physically terrible in an oversized jumpsuit but she can’t sing and she crooned and gurned her way through the first act winking at the audience and playing various roles in a hammy bad American, Indian, Yorkshire and Scouse accents. The whole production was directed for cheap laughs only and any class, nuance or sophistication thrown out the rehearsal window. The empty cheap set looked looked like something from Southend Amateur Operatic Society and it broke down half way through act one stopping the musical for 7 minutes (which was better that the show itself). This new revival is produced by Qdos the annual pantomime producers and that’s exactly what they have done; they have turned the stylish, clever and magical 1991 production I saw almost 30 years ago into an over the top, lumpy, clunky theatrical armageddon. I left at the interval..... An usher who saw us leave the theatre laughed and commented “she only gets worse in the second act”. Do not see this car crash of a revival.... in fact..... only go if THEY PAY YOU! Horrible. -3/10. #poorpoorjoseph I booked a cheap £15 seat for this show, tomorrow's matinee, when tickets first went on sale. Then the casting was announced and I also bought a front row £75 ticket for last Tuesday evening. I absolutely loved it, worth every penny, as did everyone within my earshot from what I could hear. I could have passed on my tomorrow ticket at cost to a friend but am going to use it myself and plan to attend at least once more towards the end of the run. It is undeniably "Sheridan Smith stars in a semi-pantomime version of ..." but so what ? It's not for theatre purists any more than Only Fools and Horses down the road but as pure escapist entertainment for all the family it's perfect and the healthy ticket sales for both shows and House Full signs most nights back up that there's a ready market for populist shows like these. Ultimately theatre is a business and needs shows which will bring in the crowds to balance those that the critics may love but the public don't support in sufficient numbers. However the above views are not the reason for my post, nor the alleged comment by the usher which I would take with a pinch of salt. My objection is musicalmarges's cheap and potentially very hurtful jibe at Southend Operatic & Dramatic Society(SODS) to give them their correct name. I have absolutely no connection with any amateur or professional group or theatre but I have attended enough of SODS' musicals at the Palace Theatre in Southend to say with confidence that their performances and stagecraft are of the highest amateur standards. Musical Marge should have made her (?) point with a fictional name, eg "Northend", rather than single out a hardworking talented amateur group. Rant over. |
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Post by shady23 on Jul 9, 2019 16:57:39 GMT
To answer a couple of questions above. Yes they have gone through a performance without any technical problems. I went to the 4th preview and it went without hitch. One of the Male dancers nearly dropped his wife during a lift but that was it from what I could see. Also a mention above that the show would appeal to "non theatre goers" have to disagree as I am a regular theater goer (100 plus shows a year) and this very much appealed to me. Certainly the night I went everyone around me was absolutely loving it. Full standing ovation and dancing and singing along to the mega mix. As I was leaving I could only hear positive comments. Maybe all the haters left before the end...... Aladdin has had to do performances recently without the flying carpet as there's a technical problem with it. That is integral to the story so a huge miss. That's also a show that has been running for a long time. If you book a preview you can expect things to go wrong as they are just finding their feet. After press night is a whole other thing entirely but things will go wrong. It's live theatre |
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4,361 posts
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Post by shady23 on Jul 9, 2019 17:04:06 GMT
Jason is a guest on Loose Women on 26th July.
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Post by xanady on Jul 9, 2019 17:04:57 GMT
Perhaps musicalmarge didn’t know that SODs exist? May have been a generic made-up company name in her mind?
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Post by xanady on Jul 9, 2019 18:17:37 GMT
^Thanks Steve for a very informative and thoughtful review of the show.
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388 posts
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Post by edi on Jul 10, 2019 15:48:04 GMT
Just FYI, day seats are now "by enquiry to the box office, Monday to Friday evenings only." I turned up a couple of Saturdays ago and after queuing I was told no day seats were ever offered for Saturday and the info on their website was a mistake. |
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388 posts
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Post by edi on Jul 10, 2019 17:35:27 GMT
No, it was correct at the time the website went up. It got changed as time went on. Ok, on the 29th Saturday 10am in the morning the box office said to us that they never gave it on a Saturday and that the website is not the theatre's but the production's and they have already asked them to pull the incorrect info down. This is what one employee in the box office said to our group of people and we all left disappointed without tickets. |
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