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Post by Phantom of London on Apr 2, 2016 17:07:36 GMT
If anyone is looking for the roof of the London Colesium, it must be somewhere around Hyde Park, depending on the prevailing wind, as Ms Close approximately took the roof off the place. Very rare in London when an actor makes their entrance they get around of applause. Got a deserved standing ovation at the end, to borrow a word from the show, she was stellar.
Michael Xavier was very good, good voice and all that, but for me he didn't capture the self loathing in The title song, where he sold himself out, John Barrowman, Kevin Anderson and Alan Campell did this so well.. Siobhan McCarthy was fine too as was Fred Johansen, but wasn't as good as Dave Willets.
As pointed out it is a static set, obviously original production wasn't at the Adelphi and a stunning set can detract from shortcomings in the score, this afternoon the score had no where to hide, and it didn't need to. Thus for me is Andrew Lloyd Wbber's purple patch, I adore Aspects of Love, Whistle Down the Wind and this one.
As I said the set is static, so this would mean the show would be dominated by projections, which I normally hate, but here again they were used sparingly and great effect, the two car scenes were done with great imagination, I am not going to expand on this one, as not to spoil your visit. Which leads me to say that the other triumph here other than Glenn Close, was the direction, which was done with great deftly and remarkable nuanced imagination. I do not know who the director is, so he/ she could come from the Theatre or Opera field, I don't know, but going to find out.
5 stars.
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Post by jaqs on Apr 2, 2016 17:45:09 GMT
Hearing the score with that orchestra was incredible, truly stunning.
I was in the balcony and the sound was excellent.
Loved most the cast, the costumes were excellent and I didn't care about the lack of set. Really fun afternoon.
The moobs only made a brief appearance.
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2,452 posts
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Post by theatremadness on Apr 2, 2016 18:04:29 GMT
Wasn't bad for Todd, not seen this yet, though. Thanks as always, TM! So, I succumbed and booked about 10 minutes ago!! Going 2 weeks on Monday (18th evening, if anyone else with be there??). Decided to sacrifice legroom for a better seat at the same price in the Upper Circle and I am pretty bloody excited. |
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Post by mrbarnaby on Apr 2, 2016 19:00:47 GMT
At least there is more set and staging here than there was on Sweeney. Still a bit galling they are charging full production prices- and have clearly been very budget about it all. Still, I guess ENO is in crisis and this show will boost the coffers.
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Post by loureviews on Apr 2, 2016 19:17:49 GMT
We're going Friday night. Despite the dubious look of Glenn's wig, I am expecting this to be a very good experience indeed.
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Post by couldileaveyou on Apr 2, 2016 19:24:25 GMT
rapturous standing ovation after the matinee, Glenn had to come onstage and take an extra bow!
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Post by anthony40 on Apr 2, 2016 20:32:51 GMT
I've seen the show before (Patti LuPone, Betty Buckley and Elaine Paige) all at the Adelphi and am yet to see this- am going Friday night- so can't comment on the production so no disrespect to Ms Close but I wonder, it is the production itself, or Glenn Close they're cheering and giving standing ovations for?
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Post by BurlyBeaR on Apr 2, 2016 20:43:50 GMT
I suspect it's a combination of factors. Glenn herself, her debut in the west end, the fact that it's a revival of an ALW "classic" and the hyped up excitement at the very start of the run when all the eager beavers are in. By by the time we go next Friday people will be chatting, rustling sweets and heading for the exit when the gun goes off.  |
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Post by anthony40 on Apr 2, 2016 21:02:44 GMT
It's been so hard Joe, I've even bough myself a revolver! The only thing that kept my from killing myself was the thought of all those people, out there waiting for my return.
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Post by Deleted on Apr 2, 2016 22:03:14 GMT
It was absolutely incredible. I have never seen an audience reaction like that in almost 40 years of theatre going. People on their feet at the last note, about 6 curtain calls. Glenn Close, Michael Xavier & Siobhan Dillon were all sensational.
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Post by jaqs on Apr 2, 2016 22:09:42 GMT
I suspect it's a combination of factors. Glenn herself, her debut in the west end, the fact that it's a revival of an ALW "classic" and the hyped up excitement at the very start of the run when all the eager beavers are in. By by the time we go next Friday people will be chatting, rustling sweets and heading for the exit when the gun goes off. There were sweet rustlers aplenty in the cheap seats, and talkers and coughers. |
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Post by fiyero on Apr 2, 2016 22:12:58 GMT
I loved the show. The only other version inhave seen was the actor musician version a fee years back.
I agree with so many things already posted especially a big gripe of mine, applause starting before the end of the last note! Just because you know it's coming. Some people messed up and applauded before the last line on one song tonight so keen were they to make their statement.
I do love that my seat in the balcony was described as restricted legroom and was much better than some full price ones I've had in other theatres.
Overall I am thoroughly glad that in a moment of overexcitment I booked a return visit for next week on my way in tonight
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Post by ali973 on Apr 2, 2016 22:18:13 GMT
Saw it again tonight. I just love Sunset Boulevard. It was the first show that I saw back in the early 90s when I was a pre-teen that I said, I want to see it again. And I did, again and again and again. It's so amazing to have this production in London to take us down memory lane. Feeling totally nostalgic.
The production and the direction are fine (some bad choices here and there), but I think a lot of credit needs to be given to Trevor Nunn's direction, because Glenn is basically duplicating what she did in LA and Broadway under his direction. All of her choices, her diction, even the movements, gestures and her personal staging is more or less identical to the Nunn version.
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Post by Deleted on Apr 2, 2016 23:03:06 GMT
Siobhan McCarthy was fine too... Thanks for your report, Phantom. Really looking forward to this now, but as a big Siobhan McCarthy fan I have to report that she ain't in it! It's Siobhan Dillon... (Siobhan McCarthy wouldn't be fine, she'd be sublime! ) |
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Post by steve10086 on Apr 2, 2016 23:10:28 GMT
You guys really aren't helping.
I have never looked forward to a show as much as this (going for the first time on Monday), and I've been trying to lower my expectations.
Despite the missing costumes, the dodgy wig, Xavier's moobs etc etc, I keep hearing such great reports and audience reactions. Can it really be this good?! :-)
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Post by ali973 on Apr 2, 2016 23:19:11 GMT
It's good. It's superbly acted, and you will experience the beautiful score in a proper dramatic interpretation (sorry..I just couldn't talk the actor/musician thing seriously when it was done a few years ago).
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Post by crabtree on Apr 2, 2016 23:46:07 GMT
Is it really only two hours as the online details suggest? I shall find out soon enough just having booked - crikey their page doesn't give you much time to fill in all the details.
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Post by ali973 on Apr 3, 2016 0:08:30 GMT
I think it was over at 10.20 tonight.
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Post by dlevi on Apr 3, 2016 4:09:29 GMT
The production and the direction are fine (some bad choices here and there), but I think a lot of credit needs to be given to Trevor Nunn's direction, because Glenn is basically duplicating what she did in LA and Broadway under his direction. All of her choices, her diction, even the movements, gestures and her personal staging is more or less identical to the Nunn version. I actually disagree with you in terms of her performance. I saw her three or four times way back when and was always struck by how "busy" it was; what I saw on Thursday at the Dress reehearsal was veey simple, with no clutter. It's that thing that happens with older actors - Judi Dench, Tom Courtneay, etc. where they don't so much "perform" as "behave". |
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Post by chernjam on Apr 3, 2016 4:27:04 GMT
Have to admit, reading the reviews on here, reminds me of when I saw Glenn on Broadway 22 years ago. From the large lines hoping for a ticket cancellation (making the Wicked Lotto look tame in comparison) to the thunderous ovation as she first descended that massive staircase... it really was a surreal theatrical experience unlike anything I've ever seen before. It really seemed to be the convergence of all the right things coming together - legendary story; a actress who's reputation was stellar; an amazing score (plus a year of hype, gossip and backstage drama that could be it's own show) it just spilled out in such a unique way.
I suppose my reservations about Close's aging/thin voice are lost in the live experience, which was true then. I mean, I can't say I wasn't mesmerized the two times I saw her. Absolutely was. And as a gifted actress who really feels like she owns this role, I can imagine she is able to utilize her deficiencies in such a way to maximize her portrayal of Norma.
Happy for all of you to experience that type of theatre.
The only things that does sadden me though is 1 - I doubt if they make a recording of this it will translate the same (barely listen to the American Premiere Recording) and 2 - this might cement the narrative that this role can only really being successfully staged by Close (kind of like Carol Channing in Hello Dolly) which would be unfortunate. Seeing some other amazing actresses with amazing voices (Betty Buckley) really adds a whole different element (and much more enjoyable to listen to later)
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Post by danb on Apr 3, 2016 6:51:06 GMT
Where to start? Pretty much everything has been mentioned, but above all it was an absolute treat! All that the lack of a set did was focus you on what was going on; the noisy swaying descent of a grand, self obsessed woman into madness, rather than the noisy swaying descent of a grand house set being lowered into place. Yes she got entrance applause, yes the applause after her big numbers went on forever, but importantly the same is true of the reaction to 'Sunset Blvd' and (and here was my highlight) 'Too Much In Love To Care'. This used to be the skipable track, the 'god, hurry up' song but it was absolutely electrifying by the end. Both Dillon & Xavier more than held there own against Closes' delicately bonkers Norma. The fact that Glenn's voice wasn't perfect on the OBCR, means that you get pretty much the same vocal performance here so no disppointment. The money notes are hit, and only in 'The Perfect Year' did it thin and sound like a struggle. The score is clever to go down for all of Norma's crescendos so that their power note isn't compromised. It pee's all over the Watermill version from a few years ago and all memories of the Faith Brown/Gold Curtain/Spiral staircase tour are thankfully banished. This production is shouting at you to LISTEN again to this sublime score played by a full orchestra, and uses a star name to get you into the building to do so.
It was a second preview (only one line stumble from Glenn), a Saturday matinee; and came off like an opening night. To say that the audience were up for it is the understatement of the century! I will have to go back again to see how things evolve before the end. I must echo the thanks to theatremonkey, as my side slip seat with added legroom may aswell have been a chaise longe in the front row, so good was its view & comfort for £67.50. Bravo!
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Post by ali973 on Apr 3, 2016 7:24:48 GMT
Danb, can't agree more. I never loved Too Much In Love to Care but it sounded sublime. I think a lot of credit goes to Siobhan, whose vocals are just perfectly pure, clear and yet have somewhat of a contemporary twist to them. She sounds like a young Liz Callaway. Please cast her as every square cookie cutter white girl from now on!
I am having my fingers crossed that this is extended till the time I am back late May to see Beverley Knight at the Palladium, because I am getting evil and dangerous thoughts of flying over again to see it closing. It's SO good.
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Post by ali973 on Apr 3, 2016 7:27:39 GMT
PS-this is me being a total ADD Sunset freak, but when I saw it Friday I knew there was something "off" with Norma's paramount costume. For some reason the white fur cuffs have been removed from the jacket. I'm sure this vital piece of information is necessary. *cough sarcasm cough*
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Post by Ade on Apr 3, 2016 7:39:40 GMT
Agree with pretty much all of the above. Saw this from the upper circle last night and it was very almost perfect. The orchestra playing that score was absolutely exquisite! The set, while sparse, was actually incredibly atmospheric and worked perfectly. The ensemble were VERY strong. Close, while not the strongest singer, was spot on for the role and as others have said above, the weaker singing was fitting for the vulnerable, aging character. Five stars from me and I'm going to struggle not making a return trip.
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Post by danb on Apr 3, 2016 7:44:30 GMT
Perhaps she accidentally dipped them in her interval 'cup-a-soup' and they had to whip them off?
It is definitely Siobhan that made the show for me, but I'm a bit of a fan I'm afraid and didn't want to come off biased or stalkerish (I'm waiting for my twitter restraining order any day now). Being a fantastic actress get's lost in MT sometimes, with plaudits flung at the showy parts (I'm looking at you Sheridan!) but never the subtle, quieter but just as emotionally devastating parts. She could have chosen to crack her voice, weep openly and clutch at her brow to show Betty's upset but was much subtler and interesting than that. When this was announced I did petition for Siobhan or Gina Beck for this part and am so glad that one of them got to do it.
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