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Post by FairyGodmother on Jun 29, 2021 14:59:12 GMT
…or one of them mini ponies dressed as a magical Belleville unicorn? One of my favourite bedtime stories was about four white Shetland ponies who lived in a field with a donkey, and they used to go on the stage for the pantomime of Cinderella every year (why the town did the same pantomime every year, I'm not entirely sure, but that was the story). And the donkey loved hearing about it, how they had silver plaited into their manes and tails etc and pulled the coach and he thought he'd never get to be onstage because he was a grey donkey, not a white pony. Then one year, the owner came and they all thought it was to take the ponies to do the pantomime, and instead he took the donkey, and he was in the Nativity.  |
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Post by FrontrowverPaul on Jun 29, 2021 15:17:21 GMT
Managed to grab 2 front row, centre tickets for this for tonight for only £49 a ticket. Anyone sat there? Not sure what to expect at all! Having not seen a show in London since before COVID, I'm hoping it's a good one to return on! That's a great result for you. I think I know which seats they are and I was moved to the side from one of them - for which I have paid £79 - for tonight's performance. A little disappointing. However I fared better than other posters who's bookings have been cancelled. This is against a scenario where there is good availability for many performances in the next 3 weeks, and where for Joseph at the Palladium there is apparently the opportunity to book another seat at the price originally paid, rather than simply be refunded. |
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Post by jaqs on Jun 29, 2021 15:17:23 GMT
No pumpkins or coaches or mice.
No dogs
No full nudity
Moderately high stage.
Yes there are some sexy ladies, though ymmv as to what sexy is.
No flying carpets, elevators or broomsticks
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Post by Someone in a tree on Jun 29, 2021 17:23:44 GMT
What's the band like for this?
Can anyone post the orchestration? Please and ta
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Post by alece10 on Jun 29, 2021 17:37:56 GMT
I heard the band are at home performing via Zoom.
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Post by Dr Tom on Jun 29, 2021 17:45:52 GMT
Managed to grab 2 front row, centre tickets for this for tonight for only £49 a ticket. Anyone sat there? Not sure what to expect at all! Having not seen a show in London since before COVID, I'm hoping it's a good one to return on! A load of shows have had very good last minute ticket offers tonight! I presume it's because people are taking advantage of the "no questions asked" exchange policy as there's sport on the TV! One of the only nights I couldn't leave work early to take advantage...  So, here's hoping England make it a bit further in the competition. |
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Post by Deleted on Jun 29, 2021 17:54:15 GMT
What's the band like for this? Can anyone post the orchestration? Please and ta Hope this works: postimg.cc/gnzRZb9CThe band are situated on a platform stage right. |
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Post by FairyGodmother on Jun 29, 2021 18:12:44 GMT
That's a teeny band. I'm really surprised there isn't a trumpet in there. David Wilson who programmed the keyboards was the one who moved in with ALW during lockdown to do the orchestrations. Not related to his musical ability at all, but I think he's really rather good-looking. I'd think I'd rather see him on the stage than some of the cast.  |
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Post by singingbird on Jun 29, 2021 18:40:00 GMT
That's a teeny band. I'm really surprised there isn't a trumpet in there. David Wilson who programmed the keyboards was the one who moved in with ALW during lockdown to do the orchestrations. Not related to his musical ability at all, but I think he's really rather good-looking. I'd think I'd rather see him on the stage than some of the cast. It is a teeny band. One of the things that made it hard for me to enjoy the show last Friday was the orchestrations (for which ALW has sole credit). It relies heavily on pre-recorded keyboards, including all the drum and percussion parts. This inevitably makes it all feel somewhat mechanical and lifeless, and denies the MD of having the freedom to respond to the energy of the cast and audience and pace the show accordingly, which is at the heart of the experience of both musicals and opera. It's a real shame there's no trumpet, as the show uses a large number of 'brass' fanfares, all of which sound like a cheap synth. I was also perturbed that the guitarist is doubling bass - a very worrying sign, as it means that most of either the guitar or bass parts must have been pre-programmed on keyboards. The show wants to sound big and lush, and certainly it manages that with the swelling string sounds, but elsewhere it sounds worryingly like a demo that's supposed to be fleshed out by real musicians later. I assume that, on the CD, they've used a full orchestra, but I still wonder if the brass parts will sound synthesized. Obviously ALW must like the sound, but to me it sounded worryingly cheap and tinny. |
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Post by max on Jun 29, 2021 19:23:27 GMT
What's the band like for this? Can anyone post the orchestration? Please and ta Didn't someone mention they are in a backroom somewhere?I suppose with the revolving stage they can't be in the front as normal. The band are out front, high up Stage Left - as they were for 'School Of Rock'. It's easy for this proscenium arch setting. It was 'Cats' where they were in a separate space/room, I think at a lower level. I'm not sure this venue has ever had a traditional orchestra pit out front (certainly not for the major shows of the last 40 years). |
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Post by max on Jun 29, 2021 19:28:17 GMT
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Post by Deleted on Jun 29, 2021 20:19:26 GMT
They're not wrong, in that there is a set on a revolving stage, just that there's no set on it, when it revolves.
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Post by itsetk on Jun 29, 2021 21:42:23 GMT
Is this the first musical with an 'original' story that this director has directed? I have hated everything he has ever done (that I've seen) and that was with very well established and already brilliant shows. School of Rock is the only one I can think of that was 'originally' directed by him, but that was based on an already successful (and good) film and you can't go too far wrong with that. Directing a brand new musical, with an original story is a very different thing and much more difficult to do well. My fear was always that he wouldn't have the skill to make this work. I don't understand why he gets work, but could it be that ALW really likes to be in control and is able to do this with this director? Sometimes a show needs a really strong director to point out and work out what doesn't work and to be able to offer ways to put these issues right - from just reading the script etc - not during previews. Though I appreciate that even the best director can end up having to make many changes during this time. If this does end up with bad reviews it will be a great shame, but let's hope they manage to make the improvements needed before the press night. I look forward to seeing it sometime in the future and envy those who have got to see it at the very beginning. I will very much look forward to hearing from those who have seen it at this point and who will also see it on or after press night to find out what changes have been made. Thank you all so far for your thoughts and descriptions of what you have seen. It is so good to read about new work coming to life again in the West End.
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Post by stagebyte on Jun 29, 2021 21:59:31 GMT
When & where I grew up we couldn’t afford pumpkins so had to make do with a rotting Swede from the bins at the back of Warrington Market. So think on! What did you do with him? Sorry couldn’t resist... I’ll get my coat... |
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Post by ghw894 on Jun 29, 2021 22:21:50 GMT
Saw this tonight, I appreciate its previews but after 18 months of writing time (both story and music) and endless collaboration, I'd expected something a bit more put together than what I witnessed tonight.
Positives first, the revolve gimmick is great but is, in my opinion, a very clear cover up. Some of the songs were great, some shouldn't have made the cut. VHB... yeah, we all know she's fantastic. That's it.
I've seen most shows in London over the last 15 years from their preview stage and this one is near the bottom despite having the most time to write knowing who was cast etc. The story was impossible and at times, embarrassing. There was definitely bits and pieces in there that will obviously be cut... the incredibly long song at the beginning in the forest being the most obvious. I have to say I wasn't a fan of the godmother and felt that whilst this entire story is called 'Cinderella' and its supposed to be be alternative version, aside from the slipper, there was no other real link. The midnight reference is lost because its shouted. Rebecca Trehearn is fantastic but her script doesn't allow her to go any further.
I don't understand why some have profanities, bastard, knob etc. And then the obvious rhymes in other dialogue and lyrics is replaced with a PC version... it's either all in or not, why not go the whole way?
The way the show ended so abruptly is beyond me, if the writer is such a feminist, why not adapt the ending and have Cinderella not needing a man and keeping a friendship with the Prince? So much has confused me. One minute it's a feminist version (which I love!) and the next minute it's back to being a standard boy gets girl show.
I have to say, I really didn't like CHF in this, she just doesn't do 'mean' or 'bad', her portrayals of those consist of 3 different facial expressions and a key change. I did however love her ballroom solo.
I'm just lost with it. Mostly, i feel sorry for the ensemble, they work hard and I truly believe that they are an addition, the show really could happen without them. They've been written as an afterthought and I think that's quite sad.
So yeah, those are my opinions on my long train journey home, i appreciate some may not agree but the UK has produced much, much better shows than this.
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Post by carmella1 on Jun 30, 2021 2:08:48 GMT
I think it (TA) brings out the worst side of people…Hyacinth Buckets bitching about paper napkins, a lack of coconut milk, cheap muesli and low thread counts. My Mom loved that show. |
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Post by Someone in a tree on Jun 30, 2021 8:10:06 GMT
What's the band like for this? Can anyone post the orchestration? Please and ta Hope this works: postimg.cc/gnzRZb9CThe band are situated on a platform stage right. Thanks. No percussion. yikes. |
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Post by max on Jun 30, 2021 8:49:10 GMT
Amazon Prime Video have bagged the Twitter handle ' @cinderella '
How does that work? Was it just available, or did they pay megabucks to someone who already had it?
Stunning pictures of Billy Porter playing 'Fab G' (fairy godmother) as "genderless" in this version conceived by James Corden to be released on Amazon Prime Video in September.
First short trailer out today, looks glossy but over processed.
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Post by anthony40 on Jun 30, 2021 11:48:07 GMT
Don't know if someone has posted the already bu Carrie Hope Fletcher is scheduled to ne on Sunday brunch this weekend
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Post by kt12 on Jun 30, 2021 12:25:48 GMT
Is this the first musical with an 'original' story that this director has directed? I have hated everything he has ever done (that I've seen) and that was with very well established and already brilliant shows. School of Rock is the only one I can think of that was 'originally' directed by him, but that was based on an already successful (and good) film and you can't go too far wrong with that. Directing a brand new musical, with an original story is a very different thing and much more difficult to do well. My fear was always that he wouldn't have the skill to make this work. I don't understand why he gets work, but could it be that ALW really likes to be in control and is able to do this with this director? Sometimes a show needs a really strong director to point out and work out what doesn't work and to be able to offer ways to put these issues right - from just reading the script etc - not during previews. Though I appreciate that even the best director can end up having to make many changes during this time. If this does end up with bad reviews it will be a great shame, but let's hope they manage to make the improvements needed before the press night. I look forward to seeing it sometime in the future and envy those who have got to see it at the very beginning. I will very much look forward to hearing from those who have seen it at this point and who will also see it on or after press night to find out what changes have been made. Thank you all so far for your thoughts and descriptions of what you have seen. It is so good to read about new work coming to life again in the West End. |
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Post by ghw894 on Jun 30, 2021 13:13:39 GMT
Just a quick thought in addition to what I posted last night, why has he not called this 'Bad Cinderella'? The title song he insists on reprising throughout and the lack of relatable content to the original fairytale, surely that name would at least forgive some of the choices he made?
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Post by inthenose on Jun 30, 2021 13:26:38 GMT
Just a quick thought in addition to what I posted last night, why has he not called this 'Bad Cinderella'? The title song he insists on reprising throughout and the lack of relatable content to the original fairytale, surely that name would at least forgive some of the choices he made? Perhaps the idea is to subvert the audience's expectations of the show. The twist being that it's not a classic retelling, but one for 2021, or something. Either that, or perhaps they are slightly leery about putting "bad" in the title. Doesn't take a Pulitzer winner to come up with another "paint never dries" zinger. "Bad Cinderella... you can't say they didn't warn us. It's the worst Cinderella". That kind of thing. |
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Post by fiyero on Jun 30, 2021 13:27:44 GMT
Just a quick thought in addition to what I posted last night, why has he not called this 'Bad Cinderella'? The title song he insists on reprising throughout and the lack of relatable content to the original fairytale, surely that name would at least forgive some of the choices he made? I did wonder about the title. A lot of people will expect Cinderella! Pumpkins, a search for the owner of a shoe and all that. I loved the show but think some people won’t get what they expect |
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Post by theatrelover123 on Jun 30, 2021 13:37:45 GMT
Don't know if someone has posted the already bu Carrie Hope Fletcher is scheduled to ne on Sunday brunch this weekend She might not be on for the Sunday matinee I guess then? Unless she is on early enough to get away? She will have done 2 performances on the Saturday and potentially an early start on the Sunday so it might be a rest day off for her. |
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Post by kt12 on Jun 30, 2021 13:38:16 GMT
Is this the first musical with an 'original' story that this director has directed? I have hated everything he has ever done (that I've seen) and that was with very well established and already brilliant shows. School of Rock is the only one I can think of that was 'originally' directed by him, but that was based on an already successful (and good) film and you can't go too far wrong with that. Directing a brand new musical, with an original story is a very different thing and much more difficult to do well. My fear was always that he wouldn't have the skill to make this work. I don't understand why he gets work, but could it be that ALW really likes to be in control and is able to do this with this director? Sometimes a show needs a really strong director to point out and work out what doesn't work and to be able to offer ways to put these issues right - from just reading the script etc - not during previews. Though I appreciate that even the best director can end up having to make many changes during this time. If this does end up with bad reviews it will be a great shame, but let's hope they manage to make the improvements needed before the press night. I look forward to seeing it sometime in the future and envy those who have got to see it at the very beginning. I will very much look forward to hearing from those who have seen it at this point and who will also see it on or after press night to find out what changes have been made. Thank you all so far for your thoughts and descriptions of what you have seen. It is so good to read about new work coming to life again in the West End. Connor is primarily a re-stager ( years on Les Mis doing this). School of Rock looked like it was 'directed' in an afternoon - astonishingly amateur . A new musical like like this needs a director with flair, imagination and wit. He has none of these qualities. When a new musical is competing with the skill and staging of say, Hamilton, directors really do need to up their game. The problem, of course , is that producers want a director who they can boss around, make casting decisions for them and have a very 'hands on ' approach to the staging. Experienced directors wouldn't tolerate that sort of intervention. Plus directors with a proven track-record want a big upfront fee plus a healthy cut of the box-office. Lesser directors - this one included - will accept a decreased fee plus a smaller cut of profits. More profit for the producer - but the trade-off is that the show may not actually run as long as it could have with an experienced pair of hands behind the wheel. |
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