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Post by inthenose on Jul 31, 2022 20:36:45 GMT
I think they'll be very happy with the 5 star reviews. I think you could be right on that one. They’re a lot more likely to be happy with a 5 star review than a 1 star review - what an excellent point. |
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Post by Seriously on Jul 31, 2022 21:30:25 GMT
They'll be happier with it than with the comments on here.
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Post by karloscar on Jul 31, 2022 21:44:50 GMT
The Guardian seems to give ***** ratings to shows that really don't merit them, written by critics whose lack of theatre knowledge is apparent from the opening sentence.
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Post by distantcousin on Aug 1, 2022 10:47:06 GMT
The Guardian seems to give ***** ratings to shows that really don't merit them, written by critics whose lack of theatre knowledge is apparent from the opening sentence. Oh really?
Yes, the reviews have been very positive so far. The only scathing one have been on here.
I think the show sounds great, but would need a bigger cast and set to make it work properly.
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Post by theoracle on Aug 4, 2022 19:46:06 GMT
At the interval of this and wow, I forgot how intense Robert Tripolino’s stage presence is. His big number was just theatrical magic - so good to see him back on a British stage. I suppose I’m a bit of a softie for Lloyd Webber but I got goosebumps hearing this score - the cast are all very talented and the updates Tom Jackson-Greeves have done is very welcome
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Post by Phantom of London on Aug 6, 2022 12:53:11 GMT
Surprised it got a massive 5 stars from the Guardian, then again they gave the awful Cinderella the same.
As for me, I’m sitting by the river having a coffee, before going in.
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Post by Phantom of London on Aug 6, 2022 21:04:18 GMT
Saw this at today’s matinee.
I have always at a soft spot for this musical and I also rate the late Jim Steinman highly, as a top draw lyricist.The show has some great songs, one of my favourites and is one of my favourite musical theatre songs period is ‘unsettled score,’ which has been renamed now ‘Soliloquy.’ The final 3 songs are brilliant especially the duo between the man and swallow for ‘nature of the beast.’
I also love how the musical has been moved from Cumbria to Louisiana which is where the American Bible belt is, which is topical at the moments, as that religious movement are violating women’s rights, via the law courts. UK isn’t a real god fearing country it once was thankfully, so doesn’t really resonate here, as it did many years back. I also loved the setting in the Watermill, as it felt like a actual barn, where the man hides out.
What I will never get my head round and that is the actor/musician concept, it doesn’t work for me, seeing someone play a dramatic scene, then go and play the violin or other instruments. although this genre seemed more subtle here than past shows. I understand why the Watermill need to do this type of show, due to venue limitations. A big shout to the children who sung no matter what beautifully and did the same with basic instruments.
I would be surprised if this ended up in the West End again, but could it have life on the road?
4 stars.
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Post by Oliver on Aug 9, 2022 17:29:45 GMT
I loved the original musical in London but detested Bill Kenright's tacky reworking of the show. Every single creative decision he made diminished the musical in some way. He has no taste, no creative talent, and no sensitivity to music, he is like a rank amateur. The original London production suffered from the musical's book which was terribly thin, cardboard characters, cringeworthy dialogue at times, a somewhat naïve depiction of racial tensions in the Deep South that surely required more insight and skilful handling? But in terms of the music, lyrics, and production, it was a thrilling show. Yes, I agree that Unsettled Scores (the original version) is a brilliant song. I dislike the renaming of the song as Soliloquy (although I guess that's what it was called in the Washington DC try out) and I also dislike the swapped lyric, another one of Kenwright's *ingenious* ideas. I can't understand why ALW allows him this kind of creative freedom, what does he see in him? As for the new production, I haven't seen it, and I have no intention of doing so because of the moronic *cast play the instruments* idea. There is no point to this other than to be artsy for the sake of it and to save money. It's probably what guaranteed the good reviews though.
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Post by thistimetomorrow on Aug 9, 2022 20:00:08 GMT
For anyone who's seen this, are they fairly good at starting and ending on time?
Also, I saw they seemed to have run out of slots for booking a pre theatre meal. Does anyone know if I'd still be able to grab something to eat without booking?
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Post by singingbird on Aug 9, 2022 21:07:24 GMT
For anyone who's seen this, are they fairly good at starting and ending on time? Also, I saw they seemed to have run out of slots for booking a pre theatre meal. Does anyone know if I'd still be able to grab something to eat without booking? No idea about food, but it started and ended bang on time when I saw it. I'm curious as to whether anyone else who has seen it had the same issue with the musicians that I did? Maybe I just went on an off night for some reason, but some of the playing really was amateur standard - especially the more orchestral instruments. I haven't seen any other mention of this, however, either on here or in reviews, and I'm sure if it'd been like that at other performances it would have been picked up on! |
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Post by AddisonMizner on Aug 9, 2022 21:57:04 GMT
Any chance this might transfer? It is a Lloyd Webber I need to tick off the list, but the Watermill is just too far for me.
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Post by max on Aug 9, 2022 22:08:00 GMT
Any chance this might transfer? It is a Lloyd Webber I need to tick off the list, but the Watermill is just too far for me. Coming from quite a narrow and long auditorium it feels like it would have fitted really well at The Other Palace - and that size of venue wouldn't have overestimated audience demand. Still feels strange ALW let that venue go. Bottom line - money I guess; but a legacy venue developing new work, with occasional easier hits (including his own) to support the venture seemed a great thing to do. Can't see where else a transfer would go. Charing Cross Theatre after From Here To Eternity? |
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Post by ceebee on Aug 17, 2022 18:20:53 GMT
Question please. Last time I went to the Watermill was for Martin Guerre many years back. Are the stalls seats raked? And are the circle slips really as bad as online reviews suggest? Thanks for any replies.
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Post by singingbird on Aug 17, 2022 20:49:44 GMT
Question please. Last time I went to the Watermill was for Martin Guerre many years back. Are the stalls seats raked? And are the circle slips really as bad as online reviews suggest? Thanks for any replies. Yes, the stalls are still raked. It's been a long time since I sat in the circle slips so can't really remember, but it looked like you might lose about a quarter of the stage. |
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Post by ceebee on Aug 17, 2022 21:42:23 GMT
Question please. Last time I went to the Watermill was for Martin Guerre many years back. Are the stalls seats raked? And are the circle slips really as bad as online reviews suggest? Thanks for any replies. Yes, the stalls are still raked. It's been a long time since I sat in the circle slips so can't really remember, but it looked like you might lose about a quarter of the stage. Thanks Singingbird. I've succumbed to WDTW on Saturday - appreciate the reply! |
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Post by Sotongal on Aug 19, 2022 11:48:51 GMT
Interesting that Robert Tripolino (thought his name rang a bell) is joining Les Miserables as Marius as he’s been playing The Man in Whistle Down the Wind at the Watermill Theatre, which runs until 10th September, which we went to see. ”Adam Filipe learns leading Whistle Down the Wind role in 24 hours. The actor was brought in to play The Man”. ”The company was forced to cancel Monday's performance due to additional absences, but quickly found someone willing to save the day – Adam Filipe, who, despite not knowing the material or the staging and being contacted on Monday evening, learned the leading role of The Man in a day.
He then performed off-book for Tuesday's evening show – less than 24 hours after accepting the part. He also performed two shows again yesterday.
Filipe, who graduated in 2018, already has a variety of stage credits to his name including Les Misérables, The Prince of Egypt, and recently Tony in West Side Story at Ljubljana Festival.”www.whatsonstage.com/newbury-theatre/news/adam-filipe-whistle-down-the-wind_57181.html |
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Post by ceebee on Aug 20, 2022 14:48:57 GMT
Interesting that Robert Tripolino (thought his name rang a bell) is joining Les Miserables as Marius as he’s been playing The Man in Whistle Down the Wind at the Watermill Theatre, which runs until 10th September, which we went to see. ”Adam Filipe learns leading Whistle Down the Wind role in 24 hours. The actor was brought in to play The Man”. ”The company was forced to cancel Monday's performance due to additional absences, but quickly found someone willing to save the day – Adam Filipe, who, despite not knowing the material or the staging and being contacted on Monday evening, learned the leading role of The Man in a day.
He then performed off-book for Tuesday's evening show – less than 24 hours after accepting the part. He also performed two shows again yesterday.
Filipe, who graduated in 2018, already has a variety of stage credits to his name including Les Misérables, The Prince of Egypt, and recently Tony in West Side Story at Ljubljana Festival.”www.whatsonstage.com/newbury-theatre/news/adam-filipe-whistle-down-the-wind_57181.htmlI'm watching Adam Filipe this afternoon. It's the interval, and he is superb as is the whole cast of actors/musicians. This show works so well in such an intimate theatre. Can't wait for the second half. |
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Post by ceebee on Aug 20, 2022 17:22:32 GMT
Going to add Emma Jane Morton as Swallow was just as superb. I do not understand the criticism of this production from some people - it's excellent. Watermill has done enough actormuso shows now for people to know what they are getting. Its incredible how this venue continues to knock it out the park.
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Post by mpaul2 on Aug 30, 2022 6:36:28 GMT
What a fantastic rebuilt show. Quite atmospheric set in an actual barn, the story unlike the original west end production was quite believable and the actor/ musician elements felt very natural. The kids broadly where great- better that they where natural and a little awkward in places, as this gave the whole piece a sense of vulnerability and caution. Movement, adult leads where all very strong.
There are a few moments that where very moving and some really joyous moments, those rare musicial theatre moments. My Only criticism was ‘Tyre tracks’ it is my least favourite song, I didn’t feel that narrative worked as well, and felt that song belonged in another show. Not a ALW super fan at all, much more Sondheim, but this was a very special show, hope to see it come into london.
Alw shows work best stripped back and bare, so much of his work was over produced in the 90s but then that was the times! I could imagine it reinterpreted slightly for the larger stage and to broadway, seriously it’s that good!
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Post by BurlyBeaR on Aug 30, 2022 8:04:15 GMT
What a fantastic rebuilt show. Quite atmospheric set in an actual barn, the story unlike the original west end production was quite believable and the actor/ musician elements felt very natural. The kids broadly where great- better that they where natural and a little awkward in places, as this gave the whole piece a sense of vulnerability and caution. Movement, adult leads where all very strong. There are a few moments that where very moving and some really joyous moments, those rare musicial theatre moments. My Only criticism was ‘Tyre tracks’ it is my least favourite song, I didn’t feel that narrative worked as well, and felt that song belonged in another show. Not a ALW super fan at all, much more Sondheim, but this was a very special show, hope to see it come into london. Alw shows work best stripped back and bare, so much of his work was over produced in the 90s but then that was the times! I could imagine it reinterpreted slightly for the larger stage and to broadway, seriously it’s that good! Welcome to the forum! I think some will disagree with the commented I’ve bolded, including me. The one piano Aspects at the Hope Mill being a case in point. |
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Post by TallPaul on Aug 30, 2022 10:35:41 GMT
And there are 50 pages of complaints about the stripped back Phantom of the Opera!
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Post by steve10086 on Aug 30, 2022 18:13:59 GMT
And there are 50 pages of complaints about the stripped back Phantom of the Opera! Is the Watermill claiming their WDTW is an exact copy of the original? No. That’d be the difference then. |
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Post by thistimetomorrow on Sept 2, 2022 11:05:44 GMT
I saw this without knowing the story and only knowing 'No Matter What' and 'Whistle Down the Wind', but I thoroughly enjoyed it. I don't know what I thought the story was going to be about, but a man getting mistaken for Jesus was definitely not it. A real shame the Watermill is so hard to get to because I would love to see this production again. Also a bit sad to have missed Robert Tripolino, but Adam Filipe was fantastic. For anyone who has seen this with Robert in it, the program mentions Robert playing the guitar, but Adam didn't. At what point would he have played the guitar before?
Oh forgot to say I think the sound wasn't amazing. I was sat near the sax and really struggled to hear some of the singing at times. Some of the instruments generally were just much much louder than the others and drowned out the others.
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Post by Distant Dreamer... on Sept 2, 2022 12:09:09 GMT
Is Adam Filipe still playing The Man?
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Post by thistimetomorrow on Sept 2, 2022 13:05:35 GMT
Is Adam Filipe still playing The Man? he was when i went yesterday. I'm assuming he's been on for a while because the cast board in the foyer didn't have Robert Tripolino up anymore. |
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