642 posts
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Post by Stasia on Sept 29, 2017 8:58:54 GMT
Resurrecting the thread from the dead as I have a question to those who've seen recent UK touring version: did have Talking About a Miracle number or not?
I saw the first preview of Russian version yesterday, and was truly surprised when the number was cut out. But I've been told that we got the touring UK version and it has already been cut out before. Can someone confirm that please? As I highly doubt...
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Post by Deleted on Sept 29, 2017 9:34:18 GMT
Resurrecting the thread from the dead as I have a question to those who've seen recent UK touring version: did have Talking About a Miracle number or not? I saw the first preview of Russian version yesterday, and was truly surprised when the number was cut out. But I've been told that we got the touring UK version and it has already been cut out before. Can someone confirm that please? As I highly doubt... No it wasn't in the UK tour and I was very disappointed it wasn't. |
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642 posts
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Post by Stasia on Sept 29, 2017 10:30:21 GMT
Many thanks, @aspiringthespian! I was soooo very disappointed yesterday.. Another question. If someone saw both the original version and the latest tour version, could you please point out on the differences between them? I saw the original myself, but it's been 5 years since and my memories are very vague. I remember that it had more "wow-effects" and illusions (AND A SONG I WANT MY FAVE SONG BACK), but would love to know more what's changed. I promise to dig through the topic as well  |
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Post by bodobear on Jun 1, 2018 14:26:27 GMT
I’m not sure I need another tour again this soon...  |
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Post by Deleted on Jun 1, 2018 14:37:58 GMT
Lovely. Sarah Harding is clearing her diary as we speak.
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Post by Deleted on Jun 1, 2018 14:49:27 GMT
I think Michelle Pentecost would be good as Molly but Kenwright will probably cast a “name”.
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Post by Deleted on Jun 1, 2018 15:04:41 GMT
Can we not just get a star for Sam or Oda Mae. The one role that has to sing these huge ballads really does need to be a musical theatre actress or someone who can at least sing the songs and do them justice. And as for Sam, Richard was fantastic first time around, so someone who can do what he did would be great!
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3,302 posts
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Post by david on Jun 1, 2018 15:13:25 GMT
I would be interested in another viewing of this if Sharon D. Clarke would reprise her role as Oda Mae, though with her schedule busy for the next few months with different shows, I don't think this is going to happen.
Hopefully BK has learnt his lesson about casting for the role of Molly with someone who can sing the role rather than a star name. Also, can we please have Richard back as Sam. He was great in the role.
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19,657 posts
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Post by BurlyBeaR on Jun 1, 2018 15:21:41 GMT
I see they’re now saying “a new production” unlike last time where they used the word “original”, which was very misleading.
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494 posts
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Post by ellie1981 on Jun 1, 2018 15:25:24 GMT
I unfortunately missed this in the West End so would quite like another chance.
Just hoping the tour comes to a London theatre too - Wimbledon or Richmond maybe? Seriously I’m in my embarrassing little London bubble and rarely veer off much to theatres outside Zones 1 and 2 - only really familiar with a few south of the river.
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Post by ensembleswings on Jun 1, 2018 15:38:59 GMT
I've never seen this show live before so I'd happily take another tour so soon after the last. That said it does need to be cast correctly, all I want is people trained in musical theatre that are more than capable of singing the songs well, and I don't exactly think that's too much to ask for. Another casting decision like the last tour and I'd probably give this one a miss
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Post by danb on Jun 1, 2018 16:05:47 GMT
I don’t know if he acts (not a word!!!) but I think Kevin Simm from Liberty X/The Voice would make a great Sam.
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1,970 posts
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Post by sf on Jun 1, 2018 18:00:26 GMT
I see they’re now saying “a new production” unlike last time where they used the word “original”, which was very misleading.
Fun fact: "UNCHAINED AND REIMAGINED", in this context, means "cheaper". The set, that is, rather than the price of the tickets.
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19,657 posts
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Post by BurlyBeaR on Jun 1, 2018 18:07:18 GMT
I doubt they will have “reimagined” it much beyond what it was in the Harding tour. I thought the set was fine though, (lone voice here, I know) no it wasn’t the original Opera House/West End hi-tech digital thing but it told the story well.
I was also the only person on here not clutching their pearls over SH’s performance though, so it’s probaby wise to ignore me 😬
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Post by Deleted on Jun 1, 2018 19:47:47 GMT
"Unchained and reimagined" - meaning an entirely plain, flimsy-looking creaky white set with cheap cloths being used for the back projections. And casting which will most likely include some ex-Sugababe/Atomic Kitten/Girls Aloud member as Molly and a down-on-his-luck soap star or X Factor winner as Sam.
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Post by biffo on Jun 1, 2018 23:18:51 GMT
Lucie Jones for Molly, please
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Post by daisy24601 on Jun 2, 2018 0:00:23 GMT
I've been looking at going to Berlin to see Willemijn in this evening though it's German which I dont speak a word of.
Now do I just see the English version here but without her, or pay out to see her?! Decisions.
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Post by Deleted on Jun 2, 2018 9:58:00 GMT
It’s sad to think the original West End incarnations of Ghost and the Bodyguard will likely never see the light of day again. On one hand, having these cheapened productions makes it hard for those who missed the original runs, but on the other, the memory of the London runs are forever preserved for those who saw them. How to ruin a show in X easy steps.
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Post by anthem on Jun 3, 2018 17:23:15 GMT
It’s sad to think the original West End incarnations of Ghost and the Bodyguard will likely never see the light of day again. On one hand, having these cheapened productions makes it hard for those who missed the original runs, but on the other, the memory of the London runs are forever preserved for those who saw them. How to ruin a show in X easy steps. The changes to the Bodyguard were minor though weren’t they? I didn’t see the West End production but the UK/Ireland certainly didn’t feel cheap. I know they used one or two smaller sets but that’s about it. Unfortunately they completely butchered the set and effects for this Kenwright tour of Ghost. Not to mention casting poor Sarah... hopefully it’ll be more appropriately cast this time around. |
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Post by BurlyBeaR on Jun 3, 2018 19:51:53 GMT
I wouldn’t say they butchered the sets, it was a totally different design. Whether people liked it or not, it wasn’t a derivation of the West End version or even an attempt at one.
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Post by thenightowl on Jun 3, 2018 20:28:53 GMT
There was something very special about the original West End production - the integration of the projections along with the video screens and the magic/visual effects (along with the cast) all worked so well together. Unfortunately as this changed and was adapted for the tour to be scaleable and portable I think the weaknesses in the script and score that had been previously been masked became apparent - don't get me wrong there are some great songs and ensemble pieces in the show but my god, what where they thinking of with the lyrics for Life Turns on a Dime!
When I saw I saw it in the West End I remember thinking it was one of the most technically advanced shows I'd ever seen. The transitions between the video footage and live scenes were well designed and smooth as were the overlayed video sections like i Here Right Now and the lovemaking. I still remember the absolutely stunning use of the peppers ghost trick to make Sam appear to Molly near to the end was breathtaking and I did find the ending rather emotional.
Sadly (for me) the tour lost too many key parts that helped make this show what it was, a kind of fusion of the arts if you like.
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Post by Deleted on Jun 3, 2018 21:38:48 GMT
If Mackintosh was producing this it’d be great. At least it’s not “Speckulation”. They’d do a £10 investment then cancel the tour because they can’t pay people back.(Hmm... Wonderland, Bring It On)
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5,790 posts
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Post by oxfordsimon on Jun 3, 2018 23:07:29 GMT
The BK version is awful. I don't think it is a strong score in any way but his production is cheap with even cheaper effects.
It does no credit to any theatre to book in trash like this. It upsets me that people pay good money to experience poor quality work.
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Post by distantcousin on Jun 5, 2018 9:52:55 GMT
It’s sad to think the original West End incarnations of Ghost and the Bodyguard will likely never see the light of day again. On one hand, having these cheapened productions makes it hard for those who missed the original runs, but on the other, the memory of the London runs are forever preserved for those who saw them. How to ruin a show in X easy steps. You could say that about a lot of shows - especially the mega musicals of the 80's and (first half of) the 90's.
They're never likely to be seen again in their original scale. Times, tastes and economics have all changed too much.
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1,995 posts
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Post by distantcousin on Jun 5, 2018 9:54:30 GMT
There was something very special about the original West End production - the integration of the projections along with the video screens and the magic/visual effects (along with the cast) all worked so well together. Unfortunately as this changed and was adapted for the tour to be scaleable and portable I think the weaknesses in the script and score that had been previously been masked became apparent - don't get me wrong there are some great songs and ensemble pieces in the show but my god, what where they thinking of with the lyrics for Life Turns on a Dime! When I saw I saw it in the West End I remember thinking it was one of the most technically advanced shows I'd ever seen. The transitions between the video footage and live scenes were well designed and smooth as were the overlayed video sections like i Here Right Now and the lovemaking. I still remember the absolutely stunning use of the peppers ghost trick to make Sam appear to Molly near to the end was breathtaking and I did find the ending rather emotional. Sadly (for me) the tour lost too many key parts that helped make this show what it was, a kind of fusion of the arts if you like.
Loved the production design and most of the direction but hated the score, the casting and the choreography.
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