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Post by LaLuPone on Oct 7, 2021 9:21:28 GMT
Rush sold out in seconds, shouldn’t be surprised really. Will try again for the next 3 days but I can imagine it will only get harder with Sutton’s final shows approaching.
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Post by sph on Oct 7, 2021 12:39:50 GMT
The only part of the show for me which I don't think works or makes any sense is Reno falling in love with Evelyn Oakleigh. I get that it's so that the couples can be married off for a happy ending, but it seems a bit forced and they really don't seem to suit each other. It seems it would suit Reno a lot more to remain a single, independent force of nature, but it's a 1930s musical so I guess that wouldn't happen.
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Post by inthenose on Oct 7, 2021 16:57:22 GMT
Just thinking back to how brilliant this was. What an absolute delight. One of the best shows I've ever seen
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Post by Jon on Oct 7, 2021 21:02:51 GMT
I've been trying to work out why this didn't quite land for me and I think I've narrowed it down to two reasons. Firstly, the songs just don't matter. When I looked up the show afterwards and realised how many of them were written for other things or were previously in completely different places in the show or sung by other characters, it clicked that they don't add anything to the plot or really to the characterisation - how can they when they're so unspecific. Which leaves the whole thing a little hollow for me, with no one I really felt like rooting for. The ship could have sunk and I'm not sure I would have been overly heartbroken :') I also question why Reno is touted as the main character? Is it always like this, or just because it's Sutton? Reno doesn't really add much to the plot until the second half of act two when she randomly decides she's in love with Hope's fiance, presumably to justify her presence in the show at all. If anything it's an ensemble piece, but I could maybe see the argument of framing Billy as the main character, since his actions drive the plot a little more. Just not my cup of tea. I think I prefer a show that doesn't feel so empty when it comes to plot and character, regardless of the level of spectacle. Also I hate the Barbican, which I don't think helped :') TBH if you want a show with emotional heft or challenge you intellectually, you're not going to find it in a musical comedy like Anything Goes. There's nothing wrong with a show that is designed to entertain and give you a good night out and judging by the fact it sold really well means it's done something right. |
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Post by fiyerorocher on Oct 7, 2021 22:24:10 GMT
I've been trying to work out why this didn't quite land for me and I think I've narrowed it down to two reasons. Firstly, the songs just don't matter. When I looked up the show afterwards and realised how many of them were written for other things or were previously in completely different places in the show or sung by other characters, it clicked that they don't add anything to the plot or really to the characterisation - how can they when they're so unspecific. Which leaves the whole thing a little hollow for me, with no one I really felt like rooting for. The ship could have sunk and I'm not sure I would have been overly heartbroken :') I also question why Reno is touted as the main character? Is it always like this, or just because it's Sutton? Reno doesn't really add much to the plot until the second half of act two when she randomly decides she's in love with Hope's fiance, presumably to justify her presence in the show at all. If anything it's an ensemble piece, but I could maybe see the argument of framing Billy as the main character, since his actions drive the plot a little more. Just not my cup of tea. I think I prefer a show that doesn't feel so empty when it comes to plot and character, regardless of the level of spectacle. Also I hate the Barbican, which I don't think helped :') TBH if you want a show with emotional heft or challenge you intellectually, you're not going to find it in a musical comedy like Anything Goes. There's nothing wrong with a show that is designed to entertain and give you a good night out and judging by the fact it sold really well means it's done something right. I prefer my shows both entertaining and with some depth, and there's nothing wrong with that either. There's plenty of musical comedies I've seen that don't feel so hollow and underdeveloped. I'm entitled to an opinion, even if it's different to the majority. If everyone liked the same thing, the West End would be a bland and boring place so it's a good thing there are plenty of differing views  |
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Post by ThereWillBeSun on Oct 7, 2021 22:30:25 GMT
I saw this tonight and cried after the Act 1 finale. Glad I wasn’t wearing mascara and was masked up!!!!! It was sublime.
So glad I saw Sutton before she leaves - but booking a return visit for Rachel York.
Wow.
That was blooming special.
😭❤️😭❤️😭
Also - Carly Mercedes Dyer stole the show.
I’d love her to get a nod for an Olivier for Best Supporting Actress if this show is eligible?! Blew me away. So funny.
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Post by saral on Oct 7, 2021 22:32:30 GMT
I saw this tonight and cried after the Act 1 finale. Glad I wasn’t wearing mascara and was masked up!!!!! It was sublime. So glad I saw Sutton before she leaves - but booking a return visit for Rachel York. Wow. That was blooming special. 😭❤️😭❤️😭 Also - Carly Mercedes Dyer stole the show. I’d love her to get a nod for an Olivier for Best Supporting Actress if this show is eligible?! Blew me away. So funny. Glad I wasn't the only one 🙈 |
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Post by ThereWillBeSun on Oct 7, 2021 22:35:49 GMT
It just gave me all the FEELS - incredible.
What a show!
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Post by LaLuPone on Oct 8, 2021 9:05:29 GMT
Managed the rush this time around, Row R stalls, can’t wait to see this again!
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Post by Dr Tom on Oct 8, 2021 9:10:34 GMT
Managed the rush this time around, Row R stalls, can’t wait to see this again! Well done. I thought I had my split second timing right today, but failed completely. |
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Post by tonylony on Oct 8, 2021 10:52:02 GMT
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Post by MoreLife on Oct 8, 2021 10:57:06 GMT
TBH if you want a show with emotional heft or challenge you intellectually, you're not going to find it in a musical comedy like Anything Goes. There's nothing wrong with a show that is designed to entertain and give you a good night out and judging by the fact it sold really well means it's done something right. I prefer my shows both entertaining and with some depth, and there's nothing wrong with that either. There's plenty of musical comedies I've seen that don't feel so hollow and underdeveloped. I'm entitled to an opinion, even if it's different to the majority. If everyone liked the same thing, the West End would be a bland and boring place so it's a good thing there are plenty of differing views I am definitely with you on this one, Fiyerorocher. Of course there's nothing wrong with a show that's designed to be light-hearted and funny, and so many - on this board and elsewhere - who have responded with delight and have had a strong emotional response to it in spite of (dare I say it?) the lack of a clearly devised emotional punch in the plot. And of course I am super happy that it made for such a joyful night at the theatre for me. Personally, I failed to have that kind of connection with the material, and as the show was unfolding before my eyes I couldn't quite put my finger on why it was leaving me that cold. Sure, this would not be the type of show I'd put at the top of my list, but it felt wrong not to take a look at a real classic or to miss an opportunity to see Sutton Foster at work. Plus, I have seen other classics with a rather light-hearted vibe and plot that I have enjoyed because, in the midst of all that light-heartedness, I could still connect with their "heart" and care about the characters. In the end I came to the conclusion that my (very personal, of course) issue with Anything Goes is that, for however well executed and produced it was, I never felt that those characters had any real challenge to face or a dream to pursue, and so I was not able to relate to them on a human level in any way. I just never cared for them, and the paper-thin plot to me felt like a (not always very effective) excuse to sew a series of musical numbers and farcical scenes together. |
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Post by robertb213 on Oct 8, 2021 11:56:55 GMT
Great news but awful poster, all of their heads look like they've been photoshopped on!
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Post by sfsusan on Oct 8, 2021 12:34:08 GMT
I never felt that those characters had any real challenge to face or a dream to pursue, and so I was not able to relate to them on a human level in any way. I just never cared for them, and the paper-thin plot to me felt like a (not always very effective) excuse to sew a series of musical numbers and farcical scenes together. I understand what you're saying, but it's really all about expectations. While some classical musicals (My Fair Lady, Camelot) have that emotional center, I didn't expect it from something that's basically all-singing, all-dancing. Basically, it seems to me that it is exactly a series of musical numbers and farcical scenes, by design. |
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Post by Jon on Oct 8, 2021 12:52:51 GMT
I understand what you're saying, but it's really all about expectations. While some classical musicals (My Fair Lady, Camelot) have that emotional center, I didn't expect it from something that's basically all-singing, all-dancing. Basically, it seems to me that it is exactly a series of musical numbers and farcical scenes, by design. I think Kiss Me, Kate probably have more emotional heft than Anything Goes but it was made over a decade later when the book musicals by Rodgers and Hammerstein had become really popular. I suppose a modern equivalent to Anything Goes is Mamma Mia! the plot makes no real sense but it's a great night out. |
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Post by juicy_but_terribly_drab on Oct 8, 2021 13:15:34 GMT
Yeah I'd say you'd struggle to find a 30s musical comedy that has any kind of real emotional heart to it. I mean just look at how many Cole Porter songs from other shows have been interpolated into the score now, that's pretty much the case with every musical of that era because they're so interchangeable. It's all romantic comedies with no real depth and no real plot-relevant songs (or at least not ones that aren't so generic that they could easily be plucked out and put into something else).
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Post by Jon on Oct 8, 2021 13:19:55 GMT
Yeah I'd say you'd struggle to find a 30s musical comedy that has any kind of real emotional heart to it. I mean just look at how many Cole Porter songs from other shows have been interpolated into the score now, that's pretty much the case with every musical of that era because they're so interchangeable. It's all romantic comedies with no real depth and no real plot-relevant songs (or at least not ones that aren't so generic that they could easily be plucked out and put into something else). The only musical I can think of from that era that had any sort of heft was Show Boat but that was the first of its kind. 42nd Street is similar in that regards, most of the songs from that show are from other Warner Bros movie musicals of that era, likewise Singin in the Rain, |
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Post by alison on Oct 8, 2021 13:26:49 GMT
I understand what you're saying, but it's really all about expectations. While some classical musicals (My Fair Lady, Camelot) have that emotional center, I didn't expect it from something that's basically all-singing, all-dancing. Basically, it seems to me that it is exactly a series of musical numbers and farcical scenes, by design. I think Kiss Me, Kate probably have more emotional heft than Anything Goes but it was made over a decade later when the book musicals by Rodgers and Hammerstein had become really popular. I suppose a modern equivalent to Anything Goes is Mamma Mia! the plot makes no real sense but it's a great night out. I’ve got to disagree with you there on Mamma Mia. Yes, the plot is ridiculously unbelievable but to me the characters have more to work with - a great actress as Donna can absolutely break my heart and put it back together again. I’m not sure anyone could do the same as Reno (or Billy, or whoever you want to consider the lead). |
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Post by inthenose on Oct 8, 2021 13:36:49 GMT
Great news but awful poster, all of their heads look like they've been photoshopped on! Looks like your standard regional panto poster |
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Post by couldileaveyou on Oct 8, 2021 13:50:22 GMT
Great news but awful poster, all of their heads look like they've been photoshopped on! Looks like your standard regional panto poster The ugliness of most West End posters is frankly appalling |
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Post by tonylony on Oct 8, 2021 14:19:47 GMT
I mean, look what they did to her hand! Movie poster:  Original Photo:  |
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Post by BurlyBeaR on Oct 8, 2021 14:40:41 GMT
Sutton probably wouldn’t have chosen that particular face shot either. It’s that sort of goofy smile she does when she’s acting/singing which is charming but not really great for a still shot.
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Post by LaLuPone on Oct 8, 2021 17:08:31 GMT
Managed the rush this time around, Row R stalls, can’t wait to see this again! Well done. I thought I had my split second timing right today, but failed completely. I didn’t get a ticket straight away but kept tapping furiously and got one at about 10:05. Hope you have some luck with the rush over the weekend! |
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Post by Dawnstar on Oct 8, 2021 19:13:16 GMT
Yeah I'd say you'd struggle to find a 30s musical comedy that has any kind of real emotional heart to it. I mean just look at how many Cole Porter songs from other shows have been interpolated into the score now, that's pretty much the case with every musical of that era because they're so interchangeable. It's all romantic comedies with no real depth and no real plot-relevant songs (or at least not ones that aren't so generic that they could easily be plucked out and put into something else). The only musical I can think of from that era that had any sort of heft was Show Boat but that was the first of its kind. 42nd Street is similar in that regards, most of the songs from that show are from other Warner Bros movie musicals of that era, likewise Singin in the Rain, I think I'm one of the few people on here who didn't share the adoration of the last 42nd Street revival. I didn't dislike it - I saw it 4 times - but I didn't love it because it didn't do anything for me emotionally. Prior to 42nd Street ther were 3 30s-set musicals that had WE runs which I did love: Lend Me A Tenor, Crazy For You and Top Hat. In each of those I really cared about the characters so found the shows emotionally satisfying. However all of them, though 30s set, were written or heavily re-written much more recently. So perhaps that helps them to be more emotionally satisfying than original 30s shows. |
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Post by danb on Oct 8, 2021 19:47:11 GMT
‘Anything Goes’ is a cobbled together version of several different iterations using Cole Porter songs from all over the place; a bit of a greatest hits. I think that this is one of the main reasons for its lack of real narrative drive. ‘Anything Goes’ & ‘Blow Gabriel Blow’ are absolute showstoppers and ARE worth the ticket price alone. But this shouldn’t be and isn’t enough to sustain 2 and a half hours. Yes there are lots of other ‘enjoyable’ and ‘familiar’ tunes but none of them come close to those two leaving it imbalanced. Having an amazing cast adds another layer of prestige, as does an interesting venue. All of this has created a hot ticket and fair play to them.
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