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Post by sf on Apr 15, 2019 14:18:37 GMT
Hurrah. One I want to see. But I am cautious as I found Spelling Bee to be nice and Sunshine to be terrible. But positive thoughts and all that! This is the best thing he's ever written, and the second act is a masterpiece. |
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Post by danieljohnson14 on Apr 15, 2019 14:20:31 GMT
The creation of a website leads me to believe a future after this run is likely.
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Post by 49thand8th on Apr 15, 2019 14:22:13 GMT
Hmmm
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Post by raider80 on Apr 15, 2019 14:22:57 GMT
I’m seeing The Cher Show tomorrow, I can start pestering Queen Stephanie J. Block at the stage door to come over.
Just kidding!
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Post by theatre241 on Apr 15, 2019 14:35:27 GMT
Don't really know the songs or storyline but have seen loads of clips on Instagram from time to time and would be very interested to see this! Wonder if Baz will have some casting soon? And let's hope it's not Heathers prices- from the BWay run it looked like a load of blocks- is that the norm for this show? I don't know what other productions have looked like. The marketing posters and design looks different to the way one so I think it will have a different set but it will have a simple set. And prices will depend on casting |
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Post by winonaforever on Apr 15, 2019 14:36:28 GMT
I'm listening to the cast recording right now, and getting excited about seeing it!
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Post by sparky5000 on Apr 15, 2019 14:42:31 GMT
Super interested to see who they cast in this! I saw the 2016 Broadway production and enjoyed it but didn’t love it like some. I think I was too distracted by the terrible staging with the building block cubes lol! SJB was fab as Trina, but I didn’t really enjoy Andrew Rannell’s whizzer.
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Post by TallPaul on Apr 15, 2019 14:49:53 GMT
I suspect Andrew Rannells' whizzer is more @ryan's kind of thing. 😉
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Post by sprampster on Apr 15, 2019 16:43:17 GMT
Anyone else remember March of The Falsettos at the Albery with the lovely Martin Smith x he was sublime !! And also a very young Grant Olding !
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1,561 posts
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Post by showtoones on Apr 15, 2019 17:05:17 GMT
Is there a chance of an extension or is it really cloding at the end of Nov?
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Post by danieljohnson14 on Apr 15, 2019 17:25:56 GMT
I'll to throw Louise Dearman's name out there too. She's the first person that comes into my mind for pretty much every role. 🙌🙌
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Post by Deleted on Apr 15, 2019 22:08:35 GMT
Oooh it's a long way from Wakefield 'ere at the psychiatrist in New York City.
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Post by karloscar on Apr 16, 2019 23:51:29 GMT
Jamie Lloyd directed an Edinburgh Fringe production of Falsettoland in 2001, which became our comparison for any musical (or play) done at the Fringe for years afterwards. "Nearly as good as Falsettoland!" was like *****s.
Maybe he should direct this production...
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Post by Deleted on Apr 17, 2019 6:56:23 GMT
Don’t know much about this but gave the cast recording a go yesterday. Not to my particular taste melody wise; makes Sondheim look instantly hummable.
Lots of angst being expressed, reminded me of the recordings of Fun Home and Next To Normal (neither of which I made it to the end of).
Assume we’re getting this as there is no new British writing in existence that TOP can put on. I say revive Stephen Ward or The Beautiful Game there if that’s the case!
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910 posts
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Post by karloscar on Apr 17, 2019 8:49:13 GMT
How can you make it through the dirge that is Stephen Ward and yet fail to get Falsettos or Fun Home? They're much better scores for far superior shows.
It'd be a dull world if we all liked the same things but ....Stephen Ward?
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Post by Deleted on Apr 17, 2019 9:56:45 GMT
Assume we’re getting this as there is no new British writing in existence that TOP can put on. I say revive Stephen Ward or The Beautiful Game there if that’s the case! Or maybe they just really like the show and think some UK audiences might want to see it.  |
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Post by Deleted on Apr 17, 2019 10:17:32 GMT
While I have my gripes about TOP not fulfilling its “new musicals” remit very well. Also it’s the perfect place for “musicals that British audiences might like but can’t gamble on a straight to West End’ scenario.
Also Falsettos while not a toe tapping piece of 42nd st style work IS important to the canon so why not have a limited run?
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Post by Deleted on Apr 17, 2019 10:28:05 GMT
Although London theatre does have the capacity to create and workshop and improve new musicals, I don't believe it's as strong or pronounced or efficient as it is in New York. I think it's entirely possible that at some point in the future we'll realise that although TOP wanted to showcase new British musicals, they discovered quite early on that British musicals were more in need of a space and the support to workshop than to go straight to production. Once that process is more established and running more smoothly (and it'll probably take some years yet), I bet you 50p we'll start to see the promised full productions of homegrown musicals. For now, just have a look at their "what's on" page, at any given time you'll see at least a few scratch/workshop/try-out performances. Right now for instance there's Gretel! - A New Musical, Broken Wings, Sunshine, All That Scratch, '8' A Steampunk Opera - In Concert, and The Feeling.
And in the meantime if they want to chuck us a Big Fish or a Heathers or a Falsettos every now and then to keep the theatre on audience radar while putting a few pennies in the coffers, then absolutely 100% fair play to 'em.
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Post by Being Alive on Apr 17, 2019 10:41:41 GMT
If we’re going to let TOP give us HEATHERS then I have no issue in them giving us Falsettos - in fact, I welcome it.
(Next to Normal is next on my list for someone to do thanks)
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Post by MrsCondomine on Apr 17, 2019 10:55:27 GMT
Super interested to see who they cast in this! I saw the 2016 Broadway production and enjoyed it but didn’t love it like some. I think I was too distracted by the terrible staging with the building block cubes lol! SJB was fab as Trina, but I didn’t really enjoy Andrew Rannell’s whizzer. My sole knowledge of Falsettos is this: Andrew Rannells's whizzer, enjoyable, etc. |
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Post by Someone in a tree on Apr 17, 2019 11:38:21 GMT
@dom I am also struggling with the recording. To me the endless jolly vamps and flute make it sound like a kids show, which I'm guessing it's not
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Post by sparky5000 on Apr 17, 2019 23:53:14 GMT
Don’t know much about this but gave the cast recording a go yesterday. Not to my particular taste melody wise; makes Sondheim look instantly hummable. Lots of angst being expressed, reminded me of the recordings of Fun Home and Next To Normal (neither of which I made it to the end of). Assume we’re getting this as there is no new British writing in existence that TOP can put on. I say revive Stephen Ward or The Beautiful Game there if that’s the case! Yeah I find the score to be a bit of a slog. From this interview with ALW back in 2017, he was hoping TOP would be for American producers to try out new musicals also. Seems a shame to use it for an established show but I guess if there’s no new stuff available! www.thestage.co.uk/news/2017/oliviers-2017-andrew-lloyd-webber-west-end-lost-musical-theatre-dna/ |
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Post by Deleted on Apr 17, 2019 23:58:26 GMT
How can you make it through the dirge that is Stephen Ward and yet fail to get Falsettos or Fun Home? They're much better scores for far superior shows. It'd be a dull world if we all liked the same things but ....Stephen Ward? Bad example maybe; I appreciate Stephen Ward wasn't popular. I do think it has some fabulous melodies though and I would like to see it re-worked. Second act in particular needs a complete overhaul. And somewhere like TOP is a good size and environment to try new versions of British musicals I think. |
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Post by Deleted on May 3, 2019 9:03:17 GMT
It's gone 10am, has anyone had their email with a presale link yet?
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Post by jamb0r on May 3, 2019 9:05:48 GMT
Sat here patiently waiting for my email with a pre-sale link in it that was supposed to be here before 10am. Why can't it just be an industry standard now be that all ticket releases like this use the Queue-It waiting room and random queue number approach? These emails with links in never come when they are supposed to.
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