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Post by juliem on Aug 8, 2016 11:21:10 GMT
Sorry - another vote for a dud. Cast work their socks off and the songs are nice, but the piece was sadly lacking for me. And all that endless wheeling about with the stepladders, someone will lose a finger before the run is out.
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Post by candela on Aug 8, 2016 12:49:29 GMT
One of the cast members was saying on Saturday night they are cutting a lot of the show from Monday as it running time currently too long.
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Post by emsworthian on Aug 8, 2016 14:30:29 GMT
I saw an am-dram production of this a year ago and that had a running time of 3 hours, including a 20 minute interval. There is some lovely music in this musical but I can see why it was a flop.
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Post by mikey on Aug 8, 2016 22:01:11 GMT
Saw this tonight. Sadly, like others have said, I found it all a bit mediocre. The cast work hard but the story and the script just do not work. I don't want to spoil it, but the go home message is tediously outdated and out of touch.
Some fun songs, though if you are in the front row be prepared to fear for your life as there are some very energetic dance moves in a very compact space.
They must have cut some stuff because this ran to the expected 150 mins. Started 7.35, out 10.05.
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Post by gra on Aug 8, 2016 23:38:15 GMT
Also saw it tonight. I enjoyed it. Of course it has flaws or it would be regularly performed, but I found it a charming musical, well performed by a talented cast and with a tuneful score.
I was rather worried by some of the earlier negative posts but did not find it boring or too long.(maybe it's been tightened up over the weekend)
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3,557 posts
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Post by showgirl on Aug 9, 2016 4:03:12 GMT
A rare occasion when I quite wish I had booked a little later in the run, but that said, it seems to have made a greater difference in this case than in some others. Besides, I wasn't unhappy with what I saw; just wouldn't have minded a little less of it!
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Post by foxa on Aug 9, 2016 18:17:46 GMT
Here now. First impression v nice box office guy. They are saying two and a half hours with 20 min interval.
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19,656 posts
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Post by BurlyBeaR on Aug 9, 2016 18:30:24 GMT
It's soooo much less stress without that queuing up isn't it?
Report back!
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1,502 posts
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Post by foxa on Aug 9, 2016 19:55:45 GMT
Much less stress. We're in row b on aisle. Great production - though too many ladders - but odd piece. Really loved the song 'So Far.' Quite happy - will report more later.
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Post by westendcub on Aug 9, 2016 20:02:09 GMT
Saw this last night..it certainly has flaws and lacks memorable songs but it does have a R&H charm and was quite risqué in places!!
Nice cast (two lovely cast members who you see more than you would expect in type of period piece).
It reminded me of 'Carousel' in tone but it just lacks the memorable songs and songs that most other R&H had (although I can't hum a single note of 'State Fair'). I'm surprised they never went ahead and turned this into a movie anyhow even though a big stage flop.
It's not going to be a memorable piece of this year but I had a nice enough time and was good to see a forgotten musical play out!
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Post by foxa on Aug 10, 2016 9:03:20 GMT
Show Report
Programmes: £3 and I thought worth buying
FOH: Taking their jobs with charming seriousness - to the minute description of length of first act (one hour ten) - helpful and attentive.
Dogs: No.
Puppets: Yes!
Nudity: No, but as Westendclub alludes, a little modest, rather attractive undressing, spoiled a bit by the very visible mic packs.
Running time: 2 and a half hours, obviously some pruning has occurred. There were a couple of rough jumps in the second act which made me wonder if that was where the axe had been swung.
The Show: Okay, I have to get this out of the way: on a conventional level it doesn't work - it's a bit like 'Our Town' without the depth or complexity - it's too schematic, almost like a cartoon at times, with its perfectly good small town parents versus the evil big city ways. Also if you are looking for a great Rodgers and Hammerstein score it doesn't entirely make it on that level either. BUT we really enjoyed this. There is real depth in the casting - everyone is good, the staging is endlessly inventive and there is a genuine sweetness to it.
Standout performances: Katie Bernstein delivers 'The Gentleman is a dope' really well - even if she is rather pointlessly stuck up on a big platform for some of it; Leah West is charming with 'So Far', Gary Tushow grows with the almost impossible leading role of Joe Jr.
Downside: If you don't like ladders, avoid this show - they are endlessly up and down them.
Singing and Dancing: Super. In the very opening notes you feel very secure, this group can really sing. Inventive choreography by Lee Proud (the 'Big City' numbers in the second act among my favourites.)
Recommend: Yes, but don't expect Carousel or South Pacific. It's not that, but it's pleasant (and the talk of the 1929 stock market crash and the role of government raised a few uncomfortable Brexit laughs.)
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Post by argon on Aug 10, 2016 17:15:51 GMT
This Musical should help with those suffering from insomnia. I started looking at my watch 20 mins in, State Fair may be considered a lesser of a Rogers & Ham musical compared to the other heavy weights. Well, for me, it's above this one & I saw that last at the Finborough Theatre . I don't think its the cast or the production just the musical. However i am in agreement with above posts that The Gentleman is a dope is probably the outstanding number in this musical.
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Post by foxa on Aug 10, 2016 17:51:29 GMT
The above is all fair comment - I wonder if I'm a bit more lenient with musicals than straight plays.
However, I think it's a must-see for collectors of musical curiosities - if for nothing else than how it influenced (look away those of you who hate him) Stephen Sondheim. Here's a bit from a review of a concert revival a few years back in NYC (I've made some cuts to get rid of any spoilers):
'Despite failings that included a relatively weak score and a plodding, moralistic story, "Allegro" was an aggressively innovative show. The team's first musical that was not adapted from an existing source, it brought in a Greek chorus to comment on the action. And instead of realistic sets, it used multi-level performing areas and slide projections.
But far more than most unsuccessful shows of the 1940's and 50's, "Allegro" has a rich historical resonance. Introducing the opening-night performance on Wednesday, Stephen Sondheim remembered working on the show as a 17-year-old gofer and recounted the catastrophes that befell "Allegro's" first tryout performance in New Haven when Lisa Kirk tripped and fell off the stage.
Mr. Sondheim was Hammerstein's brilliant protege, and some musical theater historians credit "Allegro" with being the first "concept" musical, meaning a show, like Mr. Sondheim's "Follies," in which the theme is expressed in the staging as well as in the score. "Merrily We Roll Along," Mr. Sondheim's 1981 collaboration with George Furth, although far more sophisticated than "Allegro," explores the same theme of youthful idealism eroded by wealth and worldly success. The two shows' brightly edgy title songs offer similarly tart overviews of their worlds.
The show clearly mirrored Mr. Hammerstein's own anxieties about his booming success and its effect on his work.
What it all adds up to is a show that is of considerable interest for the seriousness of its ambitions but that never really comes to life. It might just be that with "Allegro," Rodgers and Hammerstein outsmarted themselves.'
As an interesting aside - I tweeted something positive about the show at the interval and within seconds about 6 members of the cast had either retweeted it or liked it (they are sort of adorable.)
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Post by showgirl on Aug 10, 2016 19:20:42 GMT
As an interesting aside - I tweeted something positive about the show at the interval and within seconds about 6 members of the cast had either retweeted it or liked it (they are sort of adorable.) Gosh, foxa, good thing it was positive if they were looking during the interval. I know they are all professionals but I'm not sure how I'd cope in that situation had I just read something negative. |
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Post by foxa on Aug 10, 2016 19:27:05 GMT
Yeah, to be I honest I only tweet if it's positive (and rarely tweet at the interval but just felt like it.)
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Post by synchrony on Aug 12, 2016 22:11:10 GMT
I went tonight and really enjoyed it. I thought that the first two songs were a bit twee, but after that it grew on me more and more (with the exception of the title song which I felt was a bit odd).
I thought the cast was wonderful and I did care about what happened to Joe. I would happily listen to the soundtrack. I didn't think the message of the piece was at all outdated - I know plenty of people today who struggle with similar dilemmas trying to balance spouse, parents, money, career, and vocation. Not really that dissimilar to the message in Merrily we Roll Along.
I also loved the choreography. The staging was interesting and different and worked for me. The audience responded positively.
I don't think it's the strongest Rodgers and Hammerstein, no, but I still really enjoyed it, as did the two people I went with.
It finished around 2210.
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Post by BurlyBeaR on Aug 13, 2016 9:11:24 GMT
I can't make it to London today so I have an e- ticket for this afternoons performance 13th August at 3pm. FREE! If anyone would like it, please PM me.
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Post by anthony40 on Aug 13, 2016 9:15:40 GMT
Whoever takes it will be sitting next to me.
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Post by BurlyBeaR on Aug 13, 2016 9:16:24 GMT
An added bonus!
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Post by Deleted on Aug 15, 2016 14:54:36 GMT
Peak Billington - "I can’t help feeling it would have been improved if Rodgers and Hammerstein had shown as much interest in the state of America as in a doctor’s personal dilemma."
Guardian 3 star review, same number for Telegraph and Standard. Shenton in 'The Stage' gives it 5.
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Post by firefingers on Aug 15, 2016 15:13:09 GMT
Scanning through the reviews they all seem to praise the production but say the show as written by Rodgers & Hammerstein is flawed, which we kind of all ready knew. Interesting they seem to have cut 25 minutes off the run time since first preview, and some reviews praise Act 2 as the stronger of the two acts, when traditionally it was said that Act 2 was where Allegro fell down.
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Post by ATK on Aug 15, 2016 15:29:18 GMT
John Doyle whipped it into shape for an American production, pruning and shaping it into a continuous ninety minutes. I hoped they might be using that version but it appears like the whole thing if it's two and a half hours. I saw that production in NY and it still managed to plod. |
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Post by Someone in a tree on Aug 17, 2016 20:40:42 GMT
I really enjoyed it. So much more than an heritage piece but an actual moving piece of theatre
Katie Bernstein really stood out for me
The theatre was very empty. Out of my party of 5, 2 of us loved it the others more so towards the end ... Bravo to all involved and for Southwark for tackling such varried and challenging repertoire
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Post by westendwendy on Aug 17, 2016 23:14:21 GMT
Saw this tonight. Great cast and lovely singing and performances.
I left in the interval. I won't add spoilers but the storyline twists and then twists again within 3 minutes and I was done.
I also hated the ladders up and down and down and up and the traverse design doesn't work at Southwark (Grand Hotel too) you just feel in edge with the dancing that someone is going to be hit.
I'm sorry but it was my first musical at Southwark I didn't like (only due to the story and book really. There was a reason why it didn't work 70 years ago it is sexist, dated, twee and has a story that doesn't work.
Great cast though!
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Post by TheOneOnTheLeft on Aug 18, 2016 12:08:09 GMT
Greatly enjoyed seeing this! Still, I would only recommend it if you are really interested in getting to know an interesting, but somehow dated and far from flawless piece of theatre that you will probably not be able to see again elsewhere in the foreseeable future (I would recommend the fantastic 2009 studio cast recording for preparation). You will be rewarded by a very good production with a great cast and a show that apart from a lush score has quite a few interesting aspects beneath its unspectacular surface that must have seemed even more modernist at the time of its world premiere, particularly the chorus commenting the action from different angles and the various changes of the pacing of the narrated time. I for one am very happy to have had the opportunity to see this and salute the Southwark Playhouse for their programming.
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