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Post by anthony40 on Apr 1, 2017 14:59:28 GMT
Don't know how to break this to you jgblunners, no giving an spoilers here but Act 2 has a massive Wow! factor yet to follow
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Post by jgblunners on Apr 1, 2017 16:51:06 GMT
Well there's nothing I can say that hasn't already been said, but surely this is the most spectacular show the West End has seen for many years? Unbelievable. The quality of the choreography, the sets, the lighting design, costume design, orchestra... everything is nop notch. If there's any show that deserves the rapidly hiking price of a ticket in the West End, it's this one. Even at top premium price, you would definitely be getting your money's worth.
I need to say something about the cast - there is not a weak link in there. All the principles are fabulous, Clare Halse is bursting with talent, and the ensemble are note perfect and move like they are all one person! I've never seen a show before where I genuinely couldn't see any weakness in the casting.
5 Stars without doubt, and fingers crossed for a nice batch of Olivier Awards next year!
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Post by jgblunners on Apr 1, 2017 16:53:39 GMT
Don't know how to break this to you jgblunners, no giving an spoilers here but Act 2 has a massive Wow! factor yet to follow I think I know what you're talking about (I'll put it in a spoiler below) - I spent the whole show waiting in anticipation for it to appear and when it did I was certainly not disappointed. In fact, the whole of the titular number is just crazy and such a showstopper!
I assume you mean the staircase? Of all the brilliant set pieces, that was just the most wonderful. I genuinely got shivers when it appeared.
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Post by anthony40 on Apr 1, 2017 16:55:48 GMT
Yep, that's what I meant.
So pleased you enjoyed it.
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Post by elliott on Apr 1, 2017 18:16:26 GMT
The dance chorus will be on 550 equity minimum no? Even 800 a week and twenty more in the cast than normal that's just 16,000 pounds extra a week. Considering these shows have a potential to make over half a million pounds a week or more it's not too much to have a large cast. It's huge sets, hydraulics, automation like Sunset or Lord of the Rings that makes it expensive. I don't see 42nd Street as that expensive to run in comparison. I hope it runs for years. Amazing show. Equity minimum is not 550 it's 606 for a theatre of this size for standard ensemble with roles etc expecting more than that. I would imagine that the numbers backstage are not small either and the salary bill is pretty high once you add on holiday pay, pensions, etc. The theatre will also not be cheap as the biggest in London and they are spending a lot on advertising. Also, by all accounts, the physical production is not small so the weekly bill cannot be small. |
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Post by bellboard27 on Apr 1, 2017 18:27:22 GMT
On advertising, 42nd Street had a huge billboard at Charing Cross but it has already gone - slightly odd given it has not got to opening night yet. [noting that at Embankment there was a huge one for Dirty Rotten Scoundrels that stayed up for well over a year after it closed!]
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Post by longinthetooth on Apr 1, 2017 18:58:12 GMT
O.M.G. Just what virtually everyone has said. Tingles up my spine at least three times. Wonderful, wonderful show!
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Post by shady23 on Apr 1, 2017 19:32:22 GMT
A23/24 and apparently have a slightly restricted view and legroom. Does anyone have any experience of these seats? I gave the £15 seats a full check last night, and my notes are, "Avoid A 0 and 24 unless very short - these have no legroom on one side of the seat, and barely enough for anyone over 5ft 2 tall on the other, due to the curve of the pit wall in front. A 1 and 23 have legroom for those up to around 5ft 5 to be almost comfortable. For some reason, 0 and 1 have a tiny bit more legroom than 23 and 24, the monkey felt. The view from all four seats is clear without speakers (fixed to the proscenium wall in front of 0 and 24) intruding into sightlines, but 1 and 23 have superior views as they are "inside" the proscenium opening, rather than looking onto the stage from an angle just beside the wall. In order, the monkey would take 1, 23, 0 and 24." Thanks theatre monkey for your great advice once again. Have booked again for seat one for a matinee in June. £15. An absolute steal. Had looked on other sites and they don't always show these cheap seats. Go via the official 42nd street website and select the "select your own seats" option. |
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Post by Deleted on Apr 1, 2017 19:51:16 GMT
I am there again tonight
And many nights to come
It just gets better and better
If this doesn't get rave reviews
There is no point anymore
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Post by Steve on Apr 1, 2017 21:58:49 GMT
I am there again tonight And many nights to come It just gets better and better If this doesn't get rave reviews There is no point anymore Parsley, I liked your earlier analysis of the box office prospects of this, and agree with you that the reviews will be important. But I don't think you need to worry about the reviews. Critics are frequent theatregoers, as are members of this board, and the unanimous enjoyment had by board members (including such typically tough-minded holdouts such as yourself and Mr Barnaby) is bound to be reflected by the critics. The show has, after all, one massive USP: it is the most dazzling show in the West End. I predict 5 star reviews from all the critics, with Billington's review the one to watch, as he may dock one star on account of the production failing to solve the problems of the NHS. He really cares about society, dear Mr Billington, but even he might acknowledge that by keeping so many performers fit and healthy through vigorous exercise, the production is in fact serving the needs of the NHS. 😊 |
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Post by Deleted on Apr 1, 2017 22:04:20 GMT
I am there again tonight And many nights to come It just gets better and better If this doesn't get rave reviews There is no point anymore Parsley, I liked your earlier analysis of the box office prospects of this, and agree with you that the reviews will be important. But I don't think you need to worry about the reviews. Critics are frequent theatregoers, as are members of this board, and the unanimous enjoyment had by board members (including such typically tough-minded holdouts such as yourself and Mr Barnaby) is bound to be reflected by the critics. The show has, after all, one massive USP: it is the most dazzling show in the West End. I predict 5 star reviews from all the critics, with Billington's review the one to watch, as he may dock one star on account of the production failing to solve the problems of the NHS. He really cares about society, dear Mr Billington, but even he might acknowledge that by keeping so many performers fit and healthy through vigorous exercise, the production is in fact serving the needs of the NHS. 😊 👍🏽👯🤗😸 |
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Post by SageStageMgr on Apr 1, 2017 22:14:41 GMT
Is it actually good though? I saw a tour a few years ago (UKP I think) which was piss poor. Is this the same kind of standard? Please only comment if you saw the tour I mean.
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Post by Phantom of London on Apr 1, 2017 22:15:33 GMT
I saw this tonight and was determined to hate it and I nearly did.
With a very abrupt ending to the interval which was smart I was less than blown away, yes I admired the choreography and the costumes were a riot of colour for this troupe, the spats and sequins are enough to keep an army employed backstage. The only bit in the first half that impressed me was the mirror and revolve and the ensemble doing a floor routine, which I thought was very clever. A couple of familiar songs that were mildly enjoyable also.
But the show seemed to take off in the second part, because you could invest more into the story and warm to the false leading lady (who was superb) - loved the way they did the changing room scene and the train and the eleven o'clock number with the steps was a wow moment. The second half need as abrubty as the first half, where I was expecting to go to the Ritz with one last big number and the reviews coming in.
Could take or leave Sheena Easton, but if she sung For Your Eyes Only. The show will sell tickets here, the name won't.
A glorious production that elevated a reasonable show.
4 Stars
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Post by Deleted on Apr 1, 2017 22:18:20 GMT
Is it actually good though? I saw a tour a few years ago (UKP I think) which was piss poor. Is this the same kind of standard? Please only comment if you saw the tour I mean. It's like the high street ripping off the catwalk |
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Post by SageStageMgr on Apr 1, 2017 22:19:14 GMT
I'm a stage manager so I need you to be literal. We have no imagination.
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Post by Deleted on Apr 1, 2017 22:19:14 GMT
I saw this tonight and was determined to hate it and I nearly did. With a very abrupt ending to the interval which was smart I was less than blown away, yes I admired the choreography and the costumes were a riot of colour for this troupe, the spats and sequins are enough to keep an army employed backstage. The only bit in the first half that impressed me was the mirror and revolve and the ensemble doing a floor routine, which I thought was very clever. A couple of familiar songs that were mildly enjoyable also. But the show seemed to take off in the second part, because you could invest more into the story and warm to the false leading lady (who was superb) - loved the way they did the changing room scene and the train and the eleven o'clock number with the steps was a wow moment. The second half need as abrubty as the first half, where I was expecting to go to the Ritz with one last big number and the reviews coming in. Could take or leave Sheena Easton, but if she sung For Your Eyes Only. The show will sell tickets here, the name won't. A glorious production that elevated a reasonable show. 4 Stars But you liked it in the end Another happy customer 👯👯👯👯 I am scared For the first negative post about this show 😰 |
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Post by Deleted on Apr 1, 2017 22:26:23 GMT
I'm a stage manager so I need you to be literal. We have no imagination. Cast is double The size Possibly more The costumes are all new variations Lavish There is updated choreography which is executed to a level not seen in the west end for decades The sets are all new and use real structures The station setting is particularly effective The lighting is totally different They have the magic steps It's like comparing it to school play The cast can actually Act and sing The orchestra are more than double The size |
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Post by Deleted on Apr 1, 2017 22:28:24 GMT
Is it actually good though? I saw a tour a few years ago (UKP I think) which was piss poor. Is this the same kind of standard? Please only comment if you saw the tour I mean. It's like the high street ripping off the catwalk It's hard to describe without seeing it There was family of five in front of me Mother father two sisters and a brother At the end the youngest girl said to her brother "Wasn't it amazing, I have never see a show like this before shall we bring granny to see it" |
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Post by Deleted on Apr 1, 2017 22:39:26 GMT
The sound is excellent for this show
From all levels of the venue
Quite quite clear and lyrics can be heard nicely
The orchestrations are also pleasingly lush and expansive
Okay advertising over
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Post by Deleted on Apr 2, 2017 0:16:07 GMT
Is it actually good though? I saw a tour a few years ago (UKP I think) which was piss poor. Is this the same kind of standard? Please only comment if you saw the tour I mean. Are all the effusive reviews on here not enough to tell you what people think of it? I'm not sure how it compares to the tour has any relevance as to whether this production is good or not - each is capable of being (and should be) judged on its own merits! But for the record, I saw the tour and (unsurprisingly) this production blows it out of the water. |
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Post by infofreako on Apr 2, 2017 0:32:29 GMT
Also saw the tour and as ive said previously on this very thread and will repeat now this production tramples all over that one
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Post by jgblunners on Apr 2, 2017 9:18:41 GMT
This morning I succumbed to the temptation and booked for a return visit - managed to nab A1 in the stalls for a show towards the end of April. I was in the Grand Circle yesterday so looking forward to seeing things up close!
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Post by Deleted on Apr 2, 2017 9:53:15 GMT
I've already mentioned earlier, regarding reviews, that the US critics weren't falling over themselves to praise this production. Reviewers always point out that they are not trying to reflect audience opinion just give their own. Given the frequent comments about thin book and characterisation that's the reason right there why some reviewers may be less amenable than forum members. They also tend to have been around for a bit so will have seen it (and it all) before. As an example from a different angle, We Will Rock You pleased hundreds of thousands of audience members, critics hated it. We are a subsection predisposed to like a show like this but critics aren't (well Mark Shenton as an exception).
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Post by Deleted on Apr 2, 2017 10:17:48 GMT
But the show seemed to take off in the second part, because you could invest more into the story and warm to the false leading lady (who was superb) - loved the way they did the changing room scene and the train and the eleven o'clock number with the steps was a wow moment. The moment the staircase arrives during 42nd Street through to the end of that number is quite one of the most thrilling things I've seen in London's glitzy west end for a long time. |
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Post by mrbarnaby on Apr 2, 2017 11:38:15 GMT
I saw this production on Broadway and it wasn't half as good as it is here. Ebersole was good, if a bit too 'refined' for the role,but it just all seems so much more impressive here. If this doesn't get across the board 5 star raves, I'm never going to the theatre again. I've already mentioned earlier, regarding reviews, that the US critics weren't falling over themselves to praise this production. Reviewers always point out that they are not trying to reflect audience opinion just give their own. Given the frequent comments about thin book and characterisation that's the reason right there why some reviewers may be less amenable than forum members. They also tend to have been around for a bit so will have seen it (and it all) before. As an example from a different angle, We Will Rock You pleased hundreds of thousands of audience members, critics hated it. We are a subsection predisposed to like a show like this but critics aren't (well Mark Shenton as an exception). |
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