544 posts
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Post by amp09 on Jul 18, 2019 0:03:59 GMT
andrew Feel a bit guilty now for having taken up a space on this tour as I haven't see the show - I just tend to take advantage of these Barbican membership freebies as it is so easy for me to pop in to the Barbican. I would say, though, that I would guess that the majority of the tour consisted of people who were Open Air Theatre members rather than Barbican ones - the Q&A session revealed there to be plenty of people there who had an in depth knowledge of the production and its history. And there was a lot of hugging in the foyer with the young woman who was gathering us all together - and she works at the Open Air Theatre. As you would imagine for such a sound heavy show the backstage area is full of electrical equipment. As the Assistant Director and the Lighting Designer explained there is a large focus on making sure that everyone has the right microphone at the right time. It was described as a very technical show with a real discipline needed to get people on and off the stage and through the quick change. The quick change area is just some black tents with some of the names of the actors/dancers - which were taped up with their costumes - being appropriately biblical. Answer to your question about the make up demands in spoiler quotes at the bottom. Obviously there are almost as many crucifixes in various forms as you would see even at the shop next to Westminster Cathedral which sells religious items (I'm Catholic - I know about these things!) They said that they had talked a lot about Kanye West's Sunday service in rehearsals and were interested in exploring the branding concept around a religious movement. We saw a bit of the production being rehearsed as there was a swing on last night. Although they said that the floor space is bigger than they had at Regent's Park it is clearly quite an achievement to get people across it without a pile up. The set has been designed to fit the constraints of the tour - the Barbican set up should fit wherever the production tours to. I didn't take any photos but lots of people did - so there may be some up on social media. {Spoiler - click to view}
The glitter is applied in a separate clear plastic tent. A sticky substance is applied using one of those sprayers I fill with soapy water to attack the greenfly in the garden. The glitter is then thrown at the actor. The constraint at the Barbican is that there is no possibility - as there was at Regent's Park - of hosing down the actors backstage. Is this touring? Probably not going to get a chance to catch it before it finishes at the Barbican. |
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Post by Stasia on Jul 18, 2019 11:37:56 GMT
I got myself a rather restricted view seat in the dress circle - AA14, it is on the extreme side. Has anyone from the board sat there? or on he similar one on the opposite side? I saw a couple of reviews for the seat on the seatplan but still not sure how restricted it will be.
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1,281 posts
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Post by theatrefan77 on Jul 18, 2019 12:17:24 GMT
I got myself a rather restricted view seat in the dress circle - AA14, it is on the extreme side. Has anyone from the board sat there? or on he similar one on the opposite side? I saw a couple of reviews for the seat on the seatplan but still not sure how restricted it will be. You should be fine, I sat in the Upper Circle AA11 and I only got a slight restriction when Judas is on the extreme left hand side for maybe a minute.
You will get a very nice view of the big cross, which doubles as Last Supper table. The opposite side of the circle would be worst as they will see the action on top of the cross on profile, which is not great to fully appreciate the choreography. The actors will be facing your side in those moments and the view is great.
Enjoy! It's really wonderful
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625 posts
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Post by andrew on Jul 18, 2019 12:47:35 GMT
andrew Feel a bit guilty now for having taken up a space on this tour as I haven't see the show - I just tend to take advantage of these Barbican membership freebies as it is so easy for me to pop in to the Barbican. I would say, though, that I would guess that the majority of the tour consisted of people who were Open Air Theatre members rather than Barbican ones - the Q&A session revealed there to be plenty of people there who had an in depth knowledge of the production and its history. And there was a lot of hugging in the foyer with the young woman who was gathering us all together - and she works at the Open Air Theatre. As you would imagine for such a sound heavy show the backstage area is full of electrical equipment. As the Assistant Director and the Lighting Designer explained there is a large focus on making sure that everyone has the right microphone at the right time. It was described as a very technical show with a real discipline needed to get people on and off the stage and through the quick change. The quick change area is just some black tents with some of the names of the actors/dancers - which were taped up with their costumes - being appropriately biblical. Answer to your question about the make up demands in spoiler quotes at the bottom. Obviously there are almost as many crucifixes in various forms as you would see even at the shop next to Westminster Cathedral which sells religious items (I'm Catholic - I know about these things!) They said that they had talked a lot about Kanye West's Sunday service in rehearsals and were interested in exploring the branding concept around a religious movement. We saw a bit of the production being rehearsed as there was a swing on last night. Although they said that the floor space is bigger than they had at Regent's Park it is clearly quite an achievement to get people across it without a pile up. The set has been designed to fit the constraints of the tour - the Barbican set up should fit wherever the production tours to. I didn't take any photos but lots of people did - so there may be some up on social media. {Spoiler - click to view}
The glitter is applied in a separate clear plastic tent. A sticky substance is applied using one of those sprayers I fill with soapy water to attack the greenfly in the garden. The glitter is then thrown at the actor. The constraint at the Barbican is that there is no possibility - as there was at Regent's Park - of hosing down the actors backstage. Thanks so much for this! So enlightening... I really liked this video from the Chicago production so I would love to do a backstage tour at the Barbican. |
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3,427 posts
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Post by ceebee on Jul 18, 2019 16:35:56 GMT
I got myself a rather restricted view seat in the dress circle - AA14, it is on the extreme side. Has anyone from the board sat there? or on he similar one on the opposite side? I saw a couple of reviews for the seat on the seatplan but still not sure how restricted it will be. I sat in this same seat earlier this week. A bit tight on the bum - slightly narrower than normal stalls seat, but I'm on the stocky side. View wise its nigh on perfect, though the sound balance is slightly out due to speakers which are hung 1m to your right. Small safety bar obscures view but nothing too annoying. Perfect view of crucifixion and all of Judas' best bits plus faces the last supper tableau. Very very good value for money with 20% Barb member discount. Nobody sat to my left; if you get somebody it might be a bit of a squeeze. Bog all legroom and watch the narrow steps on the way down if you're in heels. I wasn't. 😁 |
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3,427 posts
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Post by ceebee on Jul 18, 2019 16:40:04 GMT
P.S. I'm in again tonight as I'm local and it's just too damn good not to go again.
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3,427 posts
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Post by ceebee on Jul 18, 2019 21:17:03 GMT
Can this show get any better? Saw it tonight, D6 stalls. Stunning and brilliant, though the band seemed a little reined in tonight and I missed some of Tom Deering's piano embellishments, which really must be reinstated asap. This whole cast is on fire, not a weak link, and the diction/amplification issues from previews seem to be sorted. Matt Cardle, already strong, was exceptional this evening.
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Post by daisy24601 on Jul 18, 2019 22:35:15 GMT
Ah you would've been sat right behind me ceebee! First visit for me, really enjoyed it. Judas was incredible and it was great seeing Matt do something so different. The only weak link for me was Mary, I didn't love her voice.
Fyi I was sat on the side and didn't feel I missed anything.
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241 posts
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Post by justafan on Jul 18, 2019 22:35:21 GMT
Was in tonight ... saw it ... heard it ... loved it ... end of ... I need to rebook
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3,427 posts
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Post by ceebee on Jul 18, 2019 23:14:20 GMT
Ah you would've been sat right behind me ceebee! First visit for me, really enjoyed it. Judas was incredible and it was great seeing Matt do something so different. The only weak link for me was Mary, I didn't love her voice. Fyi I was sat on the side and didn't feel I missed anything. Nope, didn't see anybody green in front of me...! I was sat next to the chap who kept shouting "Bravo" after every song. I'm glad you enjoyed it too! I agree, Judas is fantastic. Incredible voice. Mary has grown on me since the preview. She was drowned out in preview but sounds much better now. I think she has a beautiful, pure tone. Matt Cardle is an excellent Pilate and tonight he nailed the performance, particularly on "you innocent puppet", though the light/sound cue before the crowning could have waited a little longer to let his wail hang in the floodlit smoke for just another split second. I dont know who the MD was tonight but he was different to previous shows and a bit distracting tbh. I'd prefer if he could master Tom Deering's stupendous orchestrations - the piano sections were underplayed tonight and didn't drive the music as hard as previous performances (particularly "I dont know how to love him" which TD gave an almost country/folk wistfulness on the keys). I've been in stalls L39, Dress AA14, Gallery A9, Stalls D6. All are great views, tonight probably being my favourite view so far. |
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Post by theatremadhatter on Jul 18, 2019 23:28:52 GMT
I was utterly blown away by this. Second time seeing it already and I don’t think there is a weak link at all. I love the concert vibe and the nods to the film how they all turn up at the start to put it all together and then how they similarly leave Jesus after it all. Was really interesting talking to some of the cast about the idea & changes from the park. How they had the band & mics in rehearsals so they integrated with the music better and how they were attempting to put the concept album on stage first and foremost, a group of players / musicians coming together to do a big gig (again like the film) and then the story just comes out of it naturally via the music. I think that really pays off. Also it was said they spent a lot of time discussing Kayne West and the impact of his Sunday sermons he is doing online (I’ve been checking them out now) and how this story would play out now, what is it that gathers a large group of followers around one musician. Very interesting.
I like in this version too they’ve changed the priests concept too so apparently they wanted to move away from the sinister foreboding panicked version to a cooler ‘we are doing the right thing, Jesus is inciting riots and needs to be stopped for the good of the nation’ so it’s a more cooler power and control than before. Also that if the main company are a bunch of musicians jamming they embody the commercial unmoving boy band, often disconnected from the action on their ‘pedestal’. I can totally see that and I prefer it to the sinister version, makes those scenes much more enjoyable. They were all really strong.
Matt Cardle really surprised me, he’s really good and a great actor, I was so moved by him pleading to help Jesus. Sallay who plays Mary has a really interesting tone, I see how it won’t be everyone’s cup of tea but I love the indie / jazz slant she gives it. Robert playing Jesus is fantastic and one of my fave Gethsemane’s.
For me however Ricardo Afonso just steals the show. Superhuman vocals, I don’t think I’ve witnessed that compares. I wanted to stand up after Superstar and scream like I was at a rock concert!
The whole thing was just astonishingly good. Having heard those snippets I really want to go the Q&A coming up now.
Oh and I agree high numbered seats are much better to see the action on the large cross.
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642 posts
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Post by Stasia on Jul 19, 2019 3:44:26 GMT
I was utterly blown away by this. Second time seeing it already and I don’t think there is a weak link at all. I love the concert vibe and the nods to the film how they all turn up at the start to put it all together and then how they similarly leave Jesus after it all. Was really interesting talking to some of the cast about the idea & changes from the park. How they had the band & mics in rehearsals so they integrated with the music better and how they were attempting to put the concept album on stage first and foremost, a group of players / musicians coming together to do a big gig (again like the film) and then the story just comes out of it naturally via the music. I think that really pays off. Also it was said they spent a lot of time discussing Kayne West and the impact of his Sunday sermons he is doing online (I’ve been checking them out now) and how this story would play out now, what is it that gathers a large group of followers around one musician. Very interesting. I like in this version too they’ve changed the priests concept too so apparently they wanted to move away from the sinister foreboding panicked version to a cooler ‘we are doing the right thing, Jesus is inciting riots and needs to be stopped for the good of the nation’ so it’s a more cooler power and control than before. Also that if the main company are a bunch of musicians jamming they embody the commercial unmoving boy band, often disconnected from the action on their ‘pedestal’. I can totally see that and I prefer it to the sinister version, makes those scenes much more enjoyable. They were all really strong. Matt Cardle really surprised me, he’s really good and a great actor, I was so moved by him pleading to help Jesus. Sallay who plays Mary has a really interesting tone, I see how it won’t be everyone’s cup of tea but I love the indie / jazz slant she gives it. Robert playing Jesus is fantastic and one of my fave Gethsemane’s. For me however Ricardo Afonso just steals the show. Superhuman vocals, I don’t think I’ve witnessed that compares. I wanted to stand up after Superstar and scream like I was at a rock concert! The whole thing was just astonishingly good. Having heard those snippets I really want to go the Q&A coming up now. Oh and I agree high numbered seats are much better to see the action on the large cross. Could you please advise me on where to wait forthe cast? Do they go out after the matinee? Thanks |
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Post by Deleted on Jul 19, 2019 6:25:25 GMT
Stop posting all these good reviews, I cant afford to go, but every post gets me one step closer to getting the credit card out.... cry.
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Post by theatremadhatter on Jul 19, 2019 9:10:27 GMT
I was utterly blown away by this. Second time seeing it already and I don’t think there is a weak link at all. Could you please advise me on where to wait forthe cast? Do they go out after the matinee? Thanks If you come out of the exit on Silk Street it’s right there in the right hand side or if you are looking at the Silk Street entrance it’s on the left. Everyone came out that way and everyone was willing to stop and chat. |
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Post by daisy24601 on Jul 19, 2019 9:36:49 GMT
Ah you would've been sat right behind me ceebee! First visit for me, really enjoyed it. Judas was incredible and it was great seeing Matt do something so different. The only weak link for me was Mary, I didn't love her voice. Fyi I was sat on the side and didn't feel I missed anything. Nope, didn't see anybody green in front of me...! I was sat next to the chap who kept shouting "Bravo" after every song. I'm glad you enjoyed it too! I agree, Judas is fantastic. Incredible voice. Mary has grown on me since the preview. She was drowned out in preview but sounds much better now. I think she has a beautiful, pure tone. Matt Cardle is an excellent Pilate and tonight he nailed the performance, particularly on "you innocent puppet", though the light/sound cue before the crowning could have waited a little longer to let his wail hang in the floodlit smoke for just another split second. I dont know who the MD was tonight but he was different to previous shows and a bit distracting tbh. I'd prefer if he could master Tom Deering's stupendous orchestrations - the piano sections were underplayed tonight and didn't drive the music as hard as previous performances (particularly "I dont know how to love him" which TD gave an almost country/folk wistfulness on the keys). I've been in stalls L39, Dress AA14, Gallery A9, Stalls D6. All are great views, tonight probably being my favourite view so far. I heard him! You don't hear much bravo these days. What are the gallery seats like? It looked incredibly high up. |
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Post by ceebee on Jul 19, 2019 12:21:30 GMT
Stop posting all these good reviews, I cant afford to go, but every post gets me one step closer to getting the credit card out.... cry. What date do you want to go? I might have a spare. |
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Post by ceebee on Jul 19, 2019 12:25:50 GMT
Nope, didn't see anybody green in front of me...! I was sat next to the chap who kept shouting "Bravo" after every song. I'm glad you enjoyed it too! I agree, Judas is fantastic. Incredible voice. Mary has grown on me since the preview. She was drowned out in preview but sounds much better now. I think she has a beautiful, pure tone. Matt Cardle is an excellent Pilate and tonight he nailed the performance, particularly on "you innocent puppet", though the light/sound cue before the crowning could have waited a little longer to let his wail hang in the floodlit smoke for just another split second. I dont know who the MD was tonight but he was different to previous shows and a bit distracting tbh. I'd prefer if he could master Tom Deering's stupendous orchestrations - the piano sections were underplayed tonight and didn't drive the music as hard as previous performances (particularly "I dont know how to love him" which TD gave an almost country/folk wistfulness on the keys). I've been in stalls L39, Dress AA14, Gallery A9, Stalls D6. All are great views, tonight probably being my favourite view so far. I heard him! You don't hear much bravo these days. What are the gallery seats like? It looked incredibly high up. Yeah, I got a nosebleed.... they're high but less so than it seems and well worth the money. I think I'd always come down a level but it's still a bargain in my opinion, plus the sound ROCKS up there! I'll undoubtedly grab a couple more views in the gods, content that I've got a ticket for the (current) last performance in London. |
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Post by djp on Jul 19, 2019 16:20:52 GMT
Horses for courses , I think.
I really liked Mary - Salley Garnett - beautiful voice, beautifully acted . Caiaphas, Calvin Cornwall was also truly excellent- you can see why his character got the position and he was cast in it. - more of him please.
the ensemble was excellent, energetic, with notes and lyrics beautifully sung.
Jesus had an excellent , strong, end to Gethsemane, the earlier bits were decidedly meh. I just think he looked more like a 20 year old student on a demo , than the son of God- there needs to be something there that shows why everyone, or anyone at all , is following.
Judas was summed up by the three Americans leaving in front of me, as sounded great, but unintelligibly so, much of the time.
Pilate Cardle wasn't really acted as anything - the mighty governer from Rome could have been his backscrubber, for all the status he conveyed. The costume doesn't help.
Herod was dangerously close to morphing into Miss Trunchbull
The choregraphy looked as if it was lifted from Hair on speed. Lots of wild energetic gesturing just distracted at times. And for no reason known to man, the gyrations were led by the image of Sineya, the first slayer from Buffy.
And then there's the basic problem with the book - an understandable reluctance to suggest what was he? - which leads to the non ending- however well what comes before is done.
Worth a look. I would give it three stars, plus perhaps half of one for the original slayer homage.
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Post by ceebee on Jul 19, 2019 16:53:58 GMT
I can imagine that opening guitar thudding off the roof, bouncing off the back wall and again off the grid. I'm a geek. I'm back in the gallery tomorrow night so will report back. The weird jazz/tremelo effect for "oh so this is JC, I am really quite surprised, you look so small..." sounded awesome in the gods. I don't think people who haven't seen/heard this version get it until they go along. It is a masterpiece and IMHO definitive. |
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Post by NeilVHughes on Jul 19, 2019 17:11:41 GMT
Was not sure of what to expect before going as my reference for ALW is Evita and Phantom.
This is a true rock opera, sat directly in front of the guitarist and felt like a rock gig, the only negative for me was the busy choreography In the first part which I found distracting as I settled into rock concert mode more than theatre mode.
Came away thinking it is only a fine line between a concept album and a musical, especially as this had many hallmarks of the early 70’s progressive rock artists, ended up learning to play the Batman / Milk and Alcohol mash up Damned for All Time when I got home.
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Post by ceebee on Jul 19, 2019 17:59:24 GMT
I agree. I find this show fascinating because it tells a story many people know, but actually it could be about anybody. The way society builds up its heroes, puts them on a pedestal, only to turn on them. The sole dancer on the cross at the beginning doing the vivid physical theatre carries the theme throughout, being the exaggeration of the fervourous movement elsewhere on stage. When sat in AA14 in the dress circle, the cast moved in a wave towards Judas, and consequently me. The facial expressions and mania that seemed to inhabit them was striking, and felt unique. I'm sure only (perhaps) 20 people per show can experience that close-up sensation as it happens very far downstage right. The cast move around like the swirls of birds that seem to fly en masse so fluidly in the sky (if that analogy makes sense). For me, the end always provokes the same question: what was it all for, was it all worth it, and whose turn is it next? The show feels less of a theological representation and more of a societal snapshot. We reap what we sow, all that glisters is not gold, yet we still paint our heroes as demi-gods deserved of their status. Meanwhile, the aspirational glitterati form an orderly queue to try their luck at the fame game and hope that the sweat, tears and blood will not be theirs in future.
It's quite profound for a Lloyd Webber show, in my view.
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Post by anthem on Jul 19, 2019 21:12:27 GMT
I have a single ticket for Wednesday evening (24th) that I unfortunately cannot use (stalls, row F). I am happy to offer it as a freebie for someone who can make it. Send a DM!
Edit- ticket taken.
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Post by ceebee on Jul 19, 2019 21:27:49 GMT
I have a single ticket for Wednesday evening (24th) that I unfortunately cannot use (stalls, row F). I am happy to offer it as a freebie for someone who can make it. Send a DM! Serial Shusher is after a ticket. |
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Post by theatremadhatter on Jul 20, 2019 10:05:54 GMT
Was not sure of what to expect before going as my reference for ALW is Evita and Phantom. This is a true rock opera, sat directly in front of the guitarist and felt like a rock gig, the only negative for me was the busy choreography In the first part which I found distracting as I settled into rock concert mode more than theatre mode. Came away thinking it is only a fine line between a concept album and a musical, especially as this had many hallmarks of the early 70’s progressive rock artists, ended up learning to play the Batman / Milk and Alcohol mash up Damned for All Time when I got home. From what I gathered from chatting to the cast their intention was to put the original concept album on stage in the style of a rock concert so in that respect I think they’ve nailed it. |
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Post by theatre241 on Jul 20, 2019 20:17:35 GMT
Sorry if this has been answered before but are there any day seats for this and where are there if there is? And how much?! Thanks in advance
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