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Post by theatrescribe on May 11, 2019 23:45:27 GMT
I thought Sams' programme notes were very interesting (and candid about where it all went wrong) - I've coped this exerpt below
"Cut to Broadway in the early Noughties... We were adapting a songbook into a story book. With the addition of the tropes of Broadway. A number that establishes milieu, an 'I want' song, an Act One Finale, a take home ballad. All this required reshaping and reinvention. And thus we moved away from the superb operetta texts by the peerless poet Didier van Caulewaert to something more Broadway-ish. So we needed new songs and my job was to write them with Michel".
He goes onto say that Other People's Stories and Somebody both came from those sessions with Michel.
So it sounds like many of the lyrics were written from scratch by Sams, with the remainder being translations (although how faithful the translations are I couldn't say).
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Post by Dawnstar on May 12, 2019 18:18:20 GMT
I thought Sams' programme notes were very interesting (and candid about where it all went wrong) - I've coped this exerpt below "Cut to Broadway in the early Noughties... We were adapting a songbook into a story book. With the addition of the tropes of Broadway. A number that establishes milieu, an 'I want' song, an Act One Finale, a take home ballad. All this required reshaping and reinvention. And thus we moved away from the superb operetta texts by the peerless poet Didier van Caulewaert to something more Broadway-ish. So we needed new songs and my job was to write them with Michel". He goes onto say that Other People's Stories and Somebody both came from those sessions with Michel. So it sounds like many of the lyrics were written from scratch by Sams, with the remainder being translations (although how faithful the translations are I couldn't say). It's at this point I realise I should have read all the programme & not just the cast biographies! |
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Post by Dawnstar on May 25, 2019 16:29:37 GMT
I saw this a second time this afternoon. Again got a last minute day seat & this time I sat on the opposite side. I'd say that the blocking is pretty even between the two sides. The understudy, Jack Reitman, was on again so presumably the cast member who was ill at the start of the run still hasn't recovered.
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Post by showgirl on May 26, 2019 3:59:22 GMT
Dawnstar, I wish I'd known you were at yesterday's matinee as I also was - though maybe we're both fairly reserved and would have felt uncomfortable unless we had spoken by chance. Anyway, you are evidently a fan given you've seen it twice and I'm also in the "pro" camp. I found the first half a little slow but it really took off in the second. I enjoyed the music without finding any of it memorable and thought all the cast members - and band - were great. The show seemed a good fit for the venue and an ideal length, too: though it suited me to see the matinee that day, at 2 hours plus interval and handy for transport home, I'd happily have gone in the evening if necessary. Really glad, too, that it was a result for me as I ditched my Jude ticket for this. I regretted booking that but decided that rather sit through it, possibly wishing I was elsewhere and mindful of being short of opportunities to see Amour, I'd risk it. Not something I often do, obviously, nor ideal.
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Post by Dawnstar on May 26, 2019 12:37:39 GMT
Dawnstar , I wish I'd known you were at yesterday's matinee as I also was - though maybe we're both fairly reserved and would have felt uncomfortable unless we had spoken by chance. Anyway, you are evidently a fan given you've seen it twice and I'm also in the "pro" camp. I found the first half a little slow but it really took off in the second. I enjoyed the music without finding any of it memorable and thought all the cast members - and band - were great. The show seemed a good fit for the venue and an ideal length, too: though it suited me to see the matinee that day, at 2 hours plus interval and handy for transport home, I'd happily have gone in the evening if necessary. Really glad, too, that it was a result for me as I ditched my Jude ticket for this. I regretted booking that but decided that rather sit through it, possibly wishing I was elsewhere and mindful of being short of opportunities to see Amour, I'd risk it. Not something I often do, obviously, nor ideal. I'm usually happy to meet up with other board members if we happen to be at the same show. I do nearly all my theatregoing on my own so it's nice to have people to talk to occasionally. As such talk is always theatre-related I'm fine with it (my general small talk is fairly poor but I can talk at length on things I'm interested in, which is apparently typical of Asperger's).
I have found some of the music memorable & have had bits of it going round my head since my first viewing.
I do that sort of thing on occasion. I have found from experience that there is no point in making myself go to something I have previously booked for if I then spend the entire performance sitting there wishing I was elsewhere. Better to suck up losing the price of a ticket & be where I want to be.
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Post by duncan on May 28, 2019 11:16:17 GMT
Closing on 8th June.
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Post by daniella on May 28, 2019 11:18:23 GMT
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Post by Mark on May 28, 2019 11:27:18 GMT
Gutted, I had this pencilled in for mid June. Won't be able to get beforehand.
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Post by Someone in a tree on May 28, 2019 11:42:55 GMT
I hate to see something good close
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Post by n1david on May 28, 2019 12:31:11 GMT
Oh this is a shame. Not sure I can fit in another visit. Given that Umbrellas of Cherbourg flopped in the West End too, is there something about Legrand's music that doesn't appeal to a London audience?
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Post by stevej678 on May 28, 2019 12:33:14 GMT
So glad I returned tickets for Sweet Charity to see this at its second preview though equally disappointed I won't get to see it for a second time on 22nd June.
The occasional hit like Titanic aside, all too often it feels like whatever is being staged at the Charing Cross Theatre proves a very hard sell with the public, yet stage a professional production of a musical at somewhere like Southwark Playhouse and the demand seems to be there.
It's a real shame for a venue that's come a long way since WAG and Dusty. The likes of Death Takes a Holiday, The Woman in White and now Amour all deserved greater success than they seemed to enjoy. Evidently even the great reviews for Amour haven't made much difference. I hope the creative team keep the faith!
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Post by Someone in a tree on May 28, 2019 12:37:11 GMT
If they reduced top price tickets it may help.
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Post by ensembleswings on May 28, 2019 12:39:28 GMT
Sad to see this closing early, wish I could see it but I won’t have a chance before it closes now.
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Post by jamb0r on May 28, 2019 12:43:29 GMT
Does anyone know of any good offers for this?
It always surprises me at how shows at this theatre sell so few tickets and manage to plod along. The last few shows there were papered for their entire runs, but haven't seen the same being done for this show.
I am sure there must be a valid reason why they don't just chuck these shows on TodayTix with £20 rush tickets?
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Post by stevej678 on May 28, 2019 12:48:13 GMT
Does anyone know of any good offers for this? It always surprises me at how shows at this theatre sell so few tickets and manage to plod along. The last few shows there were papered for their entire runs, but haven't seen the same being done for this show. Most seats are available for either £23 or £25 (reduced from £40) across the majority of performances (excluding Saturdays and the final Friday) with Theatre Tickets Direct. |
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Post by xanady on May 28, 2019 12:56:40 GMT
Ironic that the board is discussing long runners that we feel could make way on the same day that such a beautiful show as this closes early.
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Post by Dawnstar on May 28, 2019 12:56:49 GMT
I'd suggest just going to the box office on the day & asking about day seats. I got 2nd row less than an hour before the start both this past Sat mat & 2 weeks earlier for £20.50 each time.
I'm sorry to hear this is closing early but not particularly surprised, after being at 2 half-full Saturday performances. I'm glad I decided to see it a 2nd time last week, as I don't have any other free slots before it closes.
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Post by xanady on May 28, 2019 13:03:49 GMT
Ironic that on the day that we are voting on long runners that we feel could make way, this beautiful show closes early.
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Post by Rukaya on May 28, 2019 13:18:23 GMT
Such a shame this is closing early, the Charing Cross Theatre seems to have a bit of a curse at the moment doesn't it.
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Post by andrew on May 28, 2019 13:31:30 GMT
Does anyone know of any good offers for this? It always surprises me at how shows at this theatre sell so few tickets and manage to plod along. The last few shows there were papered for their entire runs, but haven't seen the same being done for this show. I am sure there must be a valid reason why they don't just chuck these shows on TodayTix with £20 rush tickets? Rush tickets have a point when the average ticket is £80, not £30. Also I assume that they have to pay lots of money to be featured in TodayTix (and especially close to the top of the front page) so maybe some smaller productions just can't afford it. |
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Post by Rukaya on May 28, 2019 13:37:08 GMT
Does anyone know of any good offers for this? It always surprises me at how shows at this theatre sell so few tickets and manage to plod along. The last few shows there were papered for their entire runs, but haven't seen the same being done for this show. I am sure there must be a valid reason why they don't just chuck these shows on TodayTix with £20 rush tickets? Rush tickets have a point when the average ticket is £80, not £30. Also I assume that they have to pay lots of money to be featured in TodayTix (and especially close to the top of the front page) so maybe some smaller productions just can't afford it. Yeah, it's an agreement between the producers and TodayTix, not as simple as "Let's do rush tickets!" especially for smaller shows like this. |
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Post by winonaforever on May 28, 2019 14:04:53 GMT
That's such a shame. I enjoyed it so much...
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Post by kzf on May 28, 2019 15:08:41 GMT
Utterly depressing to hear, and personally gutted that I won't be able to see this production again. I can't imagine price was the issue here, just lack of awareness despite all the great reviews. Shows at Charing Cross seem to fly under the radar somewhat, such a shame...
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Post by Dawnstar on May 28, 2019 17:26:47 GMT
Oh this is a shame. Not sure I can fit in another visit. Given that Umbrellas of Cherbourg flopped in the West End too, is there something about Legrand's music that doesn't appeal to a London audience? Marguerite also closed early back in 2008. Mind you, apart than Les Mis & Miss Saigon, I'm not sure I can think off hand of any musicals by French composers that have been big hits in the WE. Anyone? Oh, Dawnstar is worth meeting, nice person  . That's kind of you to say so, though I'm not sure it's true! |
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Post by dippy on May 28, 2019 18:23:33 GMT
Add me to the list of people that finds it sad this is closing early. I really enjoyed it and thought it was one of the better productions I've seen there. Feel like since The Woman in White there's not been anything that good (not that I've seen everything so I can't really judge).
I know passing trade there must be rare but the box office only being open for a couple of hours can't help. I've walked past it before and heard what look like passersby being frustrated that the box office is closed.
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