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Post by alece10 on Jul 19, 2024 9:22:23 GMT
Just had a troll through the reviews and it's done rather well.
FT 5
Telegraph 4
Guardian 5
Independent 4
WOS 4
i News 5
ES 4
Times 4
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Post by blamerobots on Jul 19, 2024 10:14:28 GMT
One thing that’s happened is me getting extremely annoyed about it! Will this stop "honest" reviews on this forum?A bit like some bloggers who constantly give favourable reviews so as not to offend and ruin their chances of comps. I think this forum will always be as brutally honest as it has always been  |
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Post by winonaforever on Jul 19, 2024 10:30:22 GMT
Saw this tonight on press night and I’m rather deflated. A totally uninspired production, which struggles with a lead who cannot do justice to her songs and a physical production which is decidedly ugly to look at. You can’t deny they’ve spent money on this, with an extravagantly large cast and orchestra- but I’d rather they’d saved a few wages there and spent more money on the physical production. It felt like Imelda only had 2 costumes, and Harmonia Gardens looks like a terrible panto set. Clearly money and inspiration ran out by that point. Apart from sounding vocally weak, Imelda gives, as usual, a classy and moving performance. Full of pathos and humour. It’s just not the ‘star’ performance this show desperately needs. The other leads- all fine, nothing special. No glorious singing here (unlike with Kate Baldwin and Gavin Creel on Broadway) The dancing is … fine. None of the numbers wows, especially Hello Dolly , which I just cannot forgive. Compare this with the Broadway production with Bette, where every number was a showstopper and a true star performance at its centre. I know this is a limited season so restraint is the order of the day, but it’s a very lacklustre evening in the theatre. 2 stars from me. I only know one person whose seen it and he said very similar things. He did say he'd quite like to go back to give it a second chance, but only if Imelda was off! |
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Post by winonaforever on Jul 19, 2024 10:31:18 GMT
That should have been WHO'S seen it!
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Post by Dr Tom on Jul 19, 2024 10:37:47 GMT
I did enjoy the Midler version, but that was played so over the top and had a party audience. Personally, I liked this more understated version.
Interesting how the forum is being used for quotes. They will obvious cherry pick, but that’s no different to mining social media or press reviews.
I had some fun this morning going through the press pictures to put names to faces I should have recognised. There were so many radio presenters, reality TV stars, writers etc that it’s no wonder I didn’t recognise them. Still mad at myself for seeing Hannah Waddingham, but not being able to think of her name. And I realise now, I had close encounters with both Twiggy and Connie Booth. It really was a star studded affair.
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Post by justsaying113 on Jul 19, 2024 11:23:15 GMT
We do stand at basically the opening of a fridge door since COVID though.... How true! It's become ridiculous and means nothing anymore such is the vacuous frequency. I'm not a fan of Staunton, but at least she's a bona-fide star so I can get a standing ovation on a night like that. |
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Post by BurlyBeaR on Jul 19, 2024 11:59:10 GMT
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Post by Jon on Jul 19, 2024 12:06:51 GMT
Michael Riedel mentioned on a podcast that British directors have a habit of making musical comedies darker which is true to an extent, it doesn't apply to this production of Hello, Dolly! but I do sort of agree with him.
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Post by Mr Crummles on Jul 19, 2024 23:15:25 GMT
Michael Riedel mentioned on a podcast that British directors have a habit of making musical comedies darker which is true to an extent, it doesn't apply to this production of Hello, Dolly! but I do sort of agree with him. I am glad British directors offer a dark vision of American musicals. I think for many people outside of the US, the concept of euphoric optimism, unbounded joy, glamour, endless vitality, energy and chirpiness is rather foreign and not very realistic. To be able to identify with characters on stage, I think it's important that real human and recognisable motivations are brought to the fore. Personally I have great difficulty with Broadway aesthetics and I struggle to engage with what seems to me to be an idealistic representation of life. Apart from that, any work of art worth its salt should thrive with different approaches. Shakespeare, Ibsen, Bernard Shaw, Chekhov or Stephen Sondheim musicals can easily go from light comedy to very sombre drama. I like that and I'm really looking forward to this show. |
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Post by andypandy on Jul 20, 2024 6:49:19 GMT
Saw this tonight on press night and I’m rather deflated. A totally uninspired production, which struggles with a lead who cannot do justice to her songs and a physical production which is decidedly ugly to look at. You can’t deny they’ve spent money on this, with an extravagantly large cast and orchestra- but I’d rather they’d saved a few wages there and spent more money on the physical production. It felt like Imelda only had 2 costumes, and Harmonia Gardens looks like a terrible panto set. Clearly money and inspiration ran out by that point. Apart from sounding vocally weak, Imelda gives, as usual, a classy and moving performance. Full of pathos and humour. It’s just not the ‘star’ performance this show desperately needs. The other leads- all fine, nothing special. No glorious singing here (unlike with Kate Baldwin and Gavin Creel on Broadway) The dancing is … fine. None of the numbers wows, especially Hello Dolly , which I just cannot forgive. Compare this with the Broadway production with Bette, where every number was a showstopper and a true star performance at its centre. I know this is a limited season so restraint is the order of the day, but it’s a very lacklustre evening in the theatre. 2 stars from me. Are we the same person? I totally agree with everything that you say here I saw the show last night and sadly it was entertaining but felt like I was watching a regional production of the show. Imelda had weak vocals - to be honest I felt everyone did. The set was serviceable for a 10 week run but sadly it made the stage feel empty at times and cramped in others. The choreography I thought was a total mess. No flow, too fiddly with leg flicks and over complicated moves - it was uncomfortable to watch almost. Sunday Clothes, Parade, Dancing and Hello Dolly all lacked the smash hit visual moments that the show normally has. I thought the casting overall was pretty average. No one apart from the crying Ermentrude reached that Broadway first class performance level I expected. The title song Hello Dolly was also a mess and over complicated and never reached the heights it needs. I enjoyed it but it’s nowhere in the level of class or entertainment of previous productions. 3 stars from me. |
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Post by adamkinsey on Jul 20, 2024 7:55:20 GMT
Another one at a loss to understand the raves for this. It's ok but nothing more than that and reviewers and bloggers these days seem much more inclined to overlook things - or be kinder.
Dame Imelda, like Dame Judi, has never had anything other than a serviceable singing voice but is a superb actor so holding the tune and acting through song has mostly worked (Riding was far better as Sally in the NT Follies because of her far better voice). Her voice sounds much weaker and thinner to me now than in Gypsy yet it's going almost unmentioned for the most part.
Where in Gypsy her performance was an ultra bright lightbulb that drew your attention, here she has lost that luminosity, and simply doesn't have the sheer star presence that Dolly must have and which would excuse the weak vocal chops.
I'm glad to have her back where she belongs but can she stick to plays now please? Ditto Dunbar.
It's an odd production in that at times you can see where plenty of money has been thrown at it but at others wish more had been spent. The orchestra sounds glorious and while I think Dolly isn't Herman's best score it's wonderful to hear his showtunes played so well.
It was an enjoyable enough evening but, like Kiss Me, Kate, I came away feeling it should have been better and not on a high and smiling like an old-style musical like this should leave you with. As Crazy For You did last summer.
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Post by mrbarnaby on Jul 20, 2024 12:27:53 GMT
Another one at a loss to understand the raves for this. It's ok but nothing more than that and reviewers and bloggers these days seem much more inclined to overlook things - or be kinder. Dame Imelda, like Dame Judi, has never had anything other than a serviceable singing voice but is a superb actor so holding the tune and acting through song has mostly worked (Riding was far better as Sally in the NT Follies because of her far better voice). Her voice sounds much weaker and thinner to me now than in Gypsy yet it's going almost unmentioned for the most part. Where in Gypsy her performance was an ultra bright lightbulb that drew your attention, here she has lost that luminosity, and simply doesn't have the sheer star presence that Dolly must have and which would excuse the weak vocal chops. I'm glad to have her back where she belongs but can she stick to plays now please? Ditto Dunbar. It's an odd production in that at times you can see where plenty of money has been thrown at it but at others wish more had been spent. The orchestra sounds glorious and while I think Dolly isn't Herman's best score it's wonderful to hear his showtunes played so well. It was an enjoyable enough evening but, like Kiss Me, Kate, I came away feeling it should have been better and not on a high and smiling like an old-style musical like this should leave you with. As Crazy For You did last summer. I couldn’t agree more with every single word you say here. |
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Post by singingswimmer on Jul 20, 2024 12:28:04 GMT
I hope someone can answer the following question.
A lot of elements from the film were incorporated into this production. Such as “Just Leave Everything to Me” and script changes.
“Love, Look in My Window” preceded “Before the Parade Passes By” in the original production. I know it was moved to the same point of the story as “Love, is Only Love” is in the film. Did Dominic Cooke incorporate the intro that was written for the film “Love is Only Love”? It starts with “Horace, Horace Vandergelder, just leave everything to me…” I ask because “Love, Look in My Window” has no real intro and it it would have been easy to incorporate it from the film as well as the transition music into it from “Elegance.”
Fun facts: “Love, Look in My Window” was originally written for the show, cut, and reinstated for Ethel Merman when she took over the role to close the original Broadway run. “Love is Only Love” was originally written for MAME, performed in out of town tryouts and subsequently cut which is why it never received any nominations for Best Original Song.
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Post by theatrefan62 on Jul 20, 2024 19:18:06 GMT
Unlike others, I actually think this production is superior to the Broadway revival in many ways. And other past productions, too, to be honest.
Some people are acting like they've turned Hello Dolly into Hamlet. It's still the fun (and funny) uplifting show it's always been. But they've added a bit more depth that has always been in the lyrics and text, but largely ignored by past productions. We now have a full rounded character of Dolly, not a camp caricature cartoon or a star playing themselves and mugging to the audience and hamming it up. There is heart and emotion, alongside the comedy and fun.
The only negative thing for me was that the opening scene felt unnecessary. Imeldas' delivery and acting throughout the show got the message across without the need for that opening.
Imelda is in great voice, perfect comic timing and steller acting, as you'd expect.
Andy Nyman is a great Horace, balancing grumpy with warmth. Although I'd quite happily lose Penny in my pocket from the show.
Absolutely loved Harry Hepple and Tyrone Huntley. They made a great pair and were both very funny and endearing. Both add a lot of youthful hope and optimism to the show. It did take me a bit longer to warm to Jenna Russell, but I did really enjoy her performance. Same with Emily Lane as Minnie Fay.
The hat shop scene was brilliantly done, very funny from all concerned.
Have to say, though, everyone was nearly overshadowed by Emily Langham in every scene she was in. Ermengarde may be a small role, but she makes her mark every time she's on stage and you don't forget her (in a good way).
The set is much better in person than it is in production photos. Although it's still a mixed bag with interior settings, all good (Harmonia Gardens especially looks much better in person), but outside settings looking a bit sparse and basic. Costumes on the whole are great, and Dolly in green makes more sense with the set design and really helps her stand out.
While not a standing ovation, the crowd gave a very strong and long applause after the title song.
Thanks again to Imelda for bringing to the stage a big revival of a classic show that is rarely done here. She is without doubt the star of the show, but she is supported equally by some of the best the west end has to offer.
Oh, and the programme now has production photos rather than rehearsal ones (albeit not many, considering the cost).
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Post by mrbarnaby on Jul 20, 2024 19:41:56 GMT
I disagree. I think the set looks even worse in the flesh than in photos. Harmonia Gardens and Irene’s shop in particular are an absolute embarrassment. Like watching an amateur dramatic production.
Emily Langham though is indeed hilarious. What she does with that role is an absolute wonder.
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Post by eliza on Jul 20, 2024 21:00:48 GMT
I did enjoy the show but I came put wondering what all the fuss was about. It's the first time I've seen any version of it. Definitely nice to see a show with a large cast but I agree that the sets were quite basic. An enjoyable few hours, but nothing really stood out to me as 'wow'.
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Post by adamkinsey on Jul 20, 2024 22:13:35 GMT
I disagree. I think the set looks even worse in the flesh than in photos. Harmonia Gardens and Irene’s shop in particular are an absolute embarrassment. Like watching an amateur dramatic production. I've genuinely seen amateur productions with better sets than those two examples. |
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Post by Steve on Jul 20, 2024 22:25:06 GMT
I did enjoy the Midler version, but that was played so over the top and had a party audience. Personally, I liked this more understated version. As I see it, the Midler version did have a "party audience" because the Divine Miss M returned to Broadway after decades. Her return mirrored Dolly's return in the show, so it was as much meta-show as show.
Since Midler is a comedienne and a singer, as well as an actress, who came to fame after rejecting Broadway, instead doing her own comedy and singing show at the Continental Baths for gay men, an outsider doing outsider comedy for outsiders, bonding her to her core audience harder than glue, it stands to reason that there would be an incendiary energy about her return to Broadway that would be off-the-scale enthusiastic among her hard-bonded fans, and since Midler's superlative comedic and singing skills match the Dolly part to a tee, and the fact that at 71, Midler was making her Broadway return just "Before the Parade Passes By," that was always going to be the theatrical party to end all parties!
Anyone looking for that kind of buzz here is bound to be disappointed.
Putting aside all the above meta-elements, I'd agree that Dominic Cooke brings out the themes of the show here better than the Broadway show did, the pathos, of making one last hurrah of a comeback after a beloved husband's death, brillantly rendered by Staunton the way a great actress can.
Since there are none of the meta-elements that created such a party celebrating Midler's return (Staunton has done loads of theatre, by comparison (What a Mrs. Lovett! What a Mama Rose! Much more fiery and incandescent at the Savoy than Midler was in the Gypsy TV movie in my opinion), and isn't a revered and renowned and beloved creator of her own song-and-dance shows for outsiders), this is obviously less of an event than Midler's return, but it's a damn fine show, and very moving. In my opinion. It certainly had me in tears.
Luckily, I have one more front row ticket to see this again. |
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Post by harryb1 on Jul 21, 2024 8:44:12 GMT
not ashamed to say my jaw dropped during the train scene
what a production... what a star!
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Post by theatrefan62 on Jul 21, 2024 9:20:48 GMT
Yeah don't get me wrong, I'm not saying the set was amazing. But I found it better than photographed. There was depth, and set pieces. Certainly not as bad as the Beauty and the Beast revival.
Sadly, for all the granduer of the Palladium, it seems to be home to some of the worst sets. One of the downsides of its strategy of tour stops and limited runs.
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Post by ronsdivas on Jul 21, 2024 13:48:09 GMT
Will there be a casting recording of this production?? I would hope so..given all the "new" material added to the show.
Thanks...
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Post by SamB (was badoerfan) on Jul 21, 2024 18:26:44 GMT
I was underwhelmed by this last night. I know almost nothing about it and have never seen another production or the film, so went in cold, and at no point did it ever grab me. The performances were great, it was an excellent production, but I just got nothing from it. Maybe not really my kind of thing.
The humour felt *very* broad and I never fully understood why we were meant to be rooting for anyone, including Dolly herself. From how it's described above, maybe I would have preferred the version of Dolly portrayed by Bette Midler or Bernadette Peters, where the character is larger than life, leaning into the broad humour. As it was, with this version of Dolly who's wearing her grief on her face, it felt a little bit not-one-thing-nor-the-other.
It didn't help that I felt like so much of Staunton's performance was just her Mama Rose, but a bit less 'right'.
That, combined with a musical where I didn't really get as much from the songs as I'd expect to get from a 'Broadway's golden age' musical, and I didn't particularly enjoy it. I was clearly in the minority though last night, as everyone else in the theatre seemed completely thrilled by everything. (Dare I say that some of the audience seemed to come in 'knowing' they would love it, and determined to make it so? Lots of loud laughter for things that really weren't that funny, entrance applause before anything had even happened...) There was a partial standing ovation for the title song, which took me by surprise. I mean, it was *good*, but it wasn't a showstopper and I've seen many other mid-show songs that are easily as good, without having that.
Two stars from me, but recommended if it's the kind of thing you think you'll like, because you surely will.
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Post by danb on Jul 21, 2024 18:46:24 GMT
Agreed. I would have enjoyed it a lot more with a ‘bigger’ Dolly. It was all a bit insular and intimate, almost as if acted for tv, which was fine for me in the front row, but it could very easily have been broader. Theres no point making the show ‘big’ if it’s so small in so many other ways.
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Post by Scswp on Jul 22, 2024 8:48:28 GMT
I have to be honest and say that I, too, was underwhelmed by the whole thing.
When I saw it, the sound didn’t seem balanced to me, so parts of the lyrics were indecipherable (and I actually know most of the words).
I’m certain I’ll be harangued for this, but I felt Staunton was ‘ok’, but not particularly stand-out like she was in Gypsy and Follies. Even the speech to her late husband before the song ‘Before the Parade Passes By’ was underwhelming. Having seen Betty Buckley deliver these lines so passionately, I expected Staunton to deliver in the same vein. However (and maybe it was the way that particular scene was directed), it just seemed to pass without impact or significance. Vocally, I thought Staunton had far less oomph than in previous roles (though, as mentioned, the sound design didn’t help) and the title song was also a little flat and lacked ‘punch’.
I was clearly in the minority, as the audience responded very enthusiastically at the end. I just didn’t understand the reaction at all. It was an enjoyable afternoon, but no more than that; even Staunton, whose previous musical performances I have thoroughly enjoyed, couldn’t capture me with this one.
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Post by BurlyBeaR on Jul 22, 2024 9:07:34 GMT
Are they allowing the bows to be filmed?
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