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Post by richey on Oct 24, 2017 21:56:00 GMT
Well that was fantastic. Can only echo everything that's been said previously. Ria is amazing and Danny was a revelation. She gave a wonderful stare out into the audience after With One Look which had me hooked.
The staging works really well. I loved the transition at the end of Auld Lang Syne with all the shadows cast over the stage and As if We Never Said Goodbye was lit perfectly.
The orchestra sounded fabulous. Guess it's a sign of how infrequently they're used these days that at the end loads of people stood at the pit and watched them then gave a special round of applause.
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Post by Deleted on Oct 24, 2017 22:30:08 GMT
As said earlier on I sat in Stalls row A, compared to Stalls row K yesterday, and this evening I found the projection a lot less distracting - not sure why but sitting closer to the stage the projections seemed more cohesive.
I noticed some brilliant details this evening, one of my favourites being just prior to Betty's Driving sequence. Once she gets into the car she holds up a note with (I assume) the address from Joe on the phone. As she holds it up the guy controlling the car rears his head up over the seat and she holds the note so they both read the address at the same time, then he shrinks back down and the car speeds off.
Driving home last night I had a thought about the staircase and its pieces, a theory which I thought I recognised but wanted to verify tonight, which checked out. Hows this...
Not only is the staircase a clever scenic element used throughout for scenes in Norma's mansion and scenes away, but its used as a metaphor for Norma's mental state through out the show.
In the first act once formed the staircase breaks up for the scenes away from the mansion, but only into two pieces. The tallest and the other two combined. One crack.
In the Second act as Norma breaks down, the scenes away from the mansion feature the staircase elements becoming more and more juxtaposed. Initially in the studio they're quite fluidly placed, with the half Paramount Gates framing the tallest etc, but as 3 parts, more cracks show. Their placement becomes more disjointed until the climax as Joe and Betty fall in love and and their angles and order are really erratic.
Its just a theory, and I maybe over thinking it, but I think this is deliberate. Genius if it is.
Also... Possibly over thinking this too but has anyone associated 'Eternal Youth is Worth a little Suffering' with 'Stuck' from Groundhog Day? Physically and content I think theres a bit of a nod there. I feel like the staging of the Eternal Youth song was similar on the UK tour years back and GHD may have given a nod to Sunset with it. It was only watching it for a second time that the similarities clicked.
If I didn't have plans for tomorrow I'd be back again!
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Post by HereForTheatre on Oct 25, 2017 6:17:19 GMT
I do think they could frame some of the projections better because from memory they were most of time here there and everywhere on the stage, so if you had stuff going on on stage, then projections all over parts of the stage, you kind of didn't know where to focus and it got a bit busy. But at the same time as an overall visual, it always looked very good.
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Post by paulbrownsey on Oct 25, 2017 11:52:45 GMT
Sorry to break the consensus, but I wasn't so impressed by Ria Jones as others have been. I saw her in the midweek matinee in Edinburgh. Oh, she held the stage; I don't question that. But a few times her voice strained after the notes, and although Norma is supposed to be past it, I do think her songs need to be faultless. In the grand guignol scenes I thought she was very good, but in some of the more intimate scenes there was a slight air of the suburban: I was put in mind of the managing director's Welsh wife fancying a bit of nookie with her husband's fit young IT technician.
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Post by BurlyBeaR on Oct 25, 2017 12:43:34 GMT
I swear to god I read that as “there’s a slight air of the turban”
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Post by richey on Oct 25, 2017 14:11:40 GMT
I swear to god I read that as “there’s a slight air of the turban” You're obsessed with turbans!! I must say the Sunset Team do very well on their social media skills. Since tweeting how much I enjoyed it last night I've had some form of interaction off about half the cast including a thank you off Ria almost instantaneously. |
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Post by Deleted on Oct 25, 2017 18:35:12 GMT
No-one like my staircase theory then...?
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Post by BurlyBeaR on Oct 25, 2017 21:52:00 GMT
No-one like my staircase theory then...? We’re just letting it hang there.... (like it has a noose round it’s neck  ) |
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Post by tillytrotter on Oct 27, 2017 4:50:17 GMT
Saw it last night. Loved it loved it loved It cant criticise anything about it. Going to watch it again soon.
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Post by chernjam on Oct 28, 2017 2:35:12 GMT
Kind of curious about something... why are they selling the World Premiere Recording at the Sunset tour? Particularly since there were so many changes to the score that are reflected in the American Premiere Recording
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Post by Deleted on Oct 28, 2017 9:56:50 GMT
Kind of curious about something... why are they selling the World Premiere Recording at the Sunset tour? Particularly since there were so many changes to the score that are reflected in the American Premiere Recording Not sure. Though it was remastered and rereleased at a later date then the LA version. (Adelphi Sunset, New 1992 Starlight Express, The Beautiful Game and the Sarah Brightman version of Song and Dance were remastered and released together at a later date than the rest of the ALW cannon). For what it's worth, despite not including the revisions, I much prefer it. I am firmly camp LuPone/Anderson though. Also, don't forget, Joe Public won't care. So they're probs just selling what they have stock of! |
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Post by BurlyBeaR on Oct 28, 2017 10:45:02 GMT
Maybe they just wanted a “UK” version, given that it’s a UK tour. Or maybe they didn’t want to confuddle Ria’s star casting with the spectre of Glenn looming over.
Apart from that, and hold onto your hair-do’s ‘cos this isn’t going to be a popular opinion, I listened to the first half of the Lupone version recently for the first time and found it hugely inferior to the US premier recording. Some of it is so camped up its almost like someone was taking the piss. And those changes they made were certainly needed. It just sounded a bit rough and unsophisticated.
Blimey that’s Follies and Lupone I’ve slagged off within 12 hours of eachother. Call the police!
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Post by danb on Oct 28, 2017 10:56:22 GMT
Maybe they just wanted a “UK” version, given that it’s a UK tour. Or maybe they didn’t want to confuddle Ria’s star casting with the spectre of Glenn looming over. Apart from that, and hold onto your hair-do’s ‘cos this isn’t going to be a popular opinion, I listened to the first half of the Lupone version recently for the first time and found it hugely inferior to the US premier recording. Some of it is so camped up its almost like someone was taking the piss. And those changes they made were certainly needed. It just sounded a bit rough and unsophisticated. Blimey that’s Follies and Lupone I’ve slagged off within 12 hours of eachother. Call the police! I wouldn’t worry BB. I remember getting the cd (whooo?) from the library (WHOOOOO?) at the time and it actively turned me off the idea of Sunset. Only when EP took over did we decide to give it a go and the rest is history. |
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Post by distantcousin on Oct 28, 2017 12:43:28 GMT
Kind of curious about something... why are they selling the World Premiere Recording at the Sunset tour? Particularly since there were so many changes to the score that are reflected in the American Premiere Recording I remember they were only selling that recording at the London Revival (Kathryn Evans) |
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Post by danb on Oct 28, 2017 15:53:27 GMT
Maybe it is existing stock? I bet they sold a ton of the LA recording when it was at the ENO, and rather than repressing (are cds pressed?) they are shifting the duff stock they already have?
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Post by chernjam on Oct 29, 2017 5:57:55 GMT
Kind of curious about something... why are they selling the World Premiere Recording at the Sunset tour? Particularly since there were so many changes to the score that are reflected in the American Premiere Recording Not sure. Though it was remastered and rereleased at a later date then the LA version. (Adelphi Sunset, New 1992 Starlight Express, The Beautiful Game and the Sarah Brightman version of Song and Dance were remastered and released together at a later date than the rest of the ALW cannon). For what it's worth, despite not including the revisions, I much prefer it. I am firmly camp LuPone/Anderson though. Also, don't forget, Joe Public won't care. So they're probs just selling what they have stock of! Dom - the World Premiere Recording will always hold a special place in my heart. I will never forget the absolute excitement when I discovered the double CD pack in an import CD store (remember when those places existed... before Amazon took over the world ) and it was a reasonable $39 (as opposed to in NY where it sold for over $100) a full three months before it was due to be released here in the states. Anyway... that was my first listen to the score and I fell in love with it. And I enjoyed their performances (and still think in all the Sunset fiasco, Anderson was the biggest casualty of all. I much prefered his voice to Campbell) All that being said, the American Premiere Recording was a much better production to me. And as some mentioned - it was amazing what a rush job the World Premiere Recording got. I still can't figure out if they actually used recordings from Sydmonton workshop or what. But when I heard the APR I was amazed by the lushness of the sound. You guys all made good points about the stock of CD's available which I'm just remembering... in NY during the recent revival, they originally didn't have copies of the APR. It was only later in the run that they had produced more - and those were limited as well. (At the time there was hope they would record the revival cast with the orchestra) So perhaps that's really the reason - clearing out stock... with hopes that if they make a movie, there will surely be a new recording |
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Post by tysilio2 on Oct 29, 2017 9:07:25 GMT
Some excellent performances last night, I thought. The 2 leads were excellent but I must admit to being very impressed with Danny Mac who I thought commanded the stage well during his almost constant presence on stage. Fine voice too from him. Ria performed the big numbers beautifully as expected. I also loved Adam Pearce as Max with his mixture or menace/fragility/stoicism. The orchestra were superb, producing a beautifully balanced sound. And a mention for the ensemble numbers which added some light and humour to the performance. Not my favourite show to be honest, but that's just my personal preferences.
And thanks to those who gave parking suggestions for me. £2 street parking on Hulme Street. Bargain!!
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Post by sf on Nov 1, 2017 22:49:15 GMT
Saw it this afternoon (at the Palace in Manchester). The show itself is what it is: some terrific melodies, some real clunkers among the lyrics, and overall it's a very imperfect adaptation of a just-about-perfect film. Ria Jones doesn't have Glenn Close's effortless charisma, but she sings the hell out of Norma's big numbers and she's giving a very, very good performance. Danny Mac excellent. The production is very good indeed - far less lavish, in terms of the set, than the original, but a few things in it work far better than they did in Trevor Nunn's overblown staging. The car chase sequence is brilliantly done. Orchestra a bit anaemic, but could have been worse, and unfortunately the days when you'd expect to hear a big string section in the pit of a touring production are long since gone.
And a special mention to the three Palace Theatre employees who held an extended conversation RIGHT BEHIND the back row of the dress circle during the last fifteen minutes of this afternoon's matinee. The fact that they were whispering to each other - right behind me - doesn't make it any more acceptable. Guys, take it outside or duct-tape your mouths, we'd paid to listen to the ACTORS, not to you. Thanks.
(I know, I know. At the Palace in Manchester, inept front-of-house management is more or less a given - but this was irritating even given the very, very, very low expectations I carry into this particular venue.)
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Post by hulmeman on Nov 1, 2017 23:00:33 GMT
Saw Sunset this afternoon and here's my opinion for what it's worth.
First off the rank is Danny Mac as Joe Gillis and a very fine performance he gives too. He is assured and vulnerable in equal measures. My only reservation is in "Boulevard" which he sings with a pronounced "oul" which makes it a bit artificial. My major disappointment is Ria Jones who seems to breeze through the show with little emotion, apart from her final scene. There is however, a "tremor" in her voice which suggests to me she is unsuited to the role.
The staging is a bit complicated but carried out with business like speed and effect, the projections are fine and somehow add to the piece.
My major liking is for the orchestra, who, if they are unaided as said by the pre-show announcement make a magnificent sound which propels this show.
Lots to enjoy in this worthwhile restaging of a classical ALW show
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Post by BurlyBeaR on Nov 2, 2017 8:31:54 GMT
Was the matinee busy?
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Post by hulmeman on Nov 2, 2017 9:59:56 GMT
Certainly was in the stalls. I'm not sure about upstairs though. |
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Post by hulmeman on Nov 2, 2017 10:40:24 GMT
Saw Sunset this afternoon and here's my opinion for what it's worth. First off the rank is Danny Mac as Joe Gillis and a very fine performance he gives too. He is assured and vulnerable in equal measures. My only reservation is in "Boulevard" which he sings with a pronounced "oul" which makes it a bit artificial. My major disappointment is Ria Jones who seems to breeze through the show with little emotion, apart from her final scene. There is however, a "tremor" in her voice which I didn't like. The staging is a bit complicated but carried out with business like speed and effect, the projections are fine and somehow add to the piece. My major liking is for the orchestra, who, if they are unaided as said by the pre-show announcement make a magnificent sound which propels this show. Lots to enjoy in this worthwhile restaging of a classical ALW show Edited for politeness!!! |
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Post by hulmeman on Nov 2, 2017 10:42:21 GMT
Saw it this afternoon (at the Palace in Manchester). The show itself is what it is: some terrific melodies, some real clunkers among the lyrics, and overall it's a very imperfect adaptation of a just-about-perfect film. Ria Jones doesn't have Glenn Close's effortless charisma, but she sings the hell out of Norma's big numbers and she's giving a very, very good performance. Danny Mac excellent. The production is very good indeed - far less lavish, in terms of the set, than the original, but a few things in it work far better than they did in Trevor Nunn's overblown staging. The car chase sequence is brilliantly done. Orchestra a bit anaemic, but could have been worse, and unfortunately the days when you'd expect to hear a big string section in the pit of a touring production are long since gone. And a special mention to the three Palace Theatre employees who held an extended conversation RIGHT BEHIND the back row of the dress circle during the last fifteen minutes of this afternoon's matinee. The fact that they were whispering to each other - right behind me - doesn't make it any more acceptable. Guys, take it outside or duct-tape your mouths, we'd paid to listen to the ACTORS, not to you. Thanks. (I know, I know. At the Palace in Manchester, inept front-of-house management is more or less a given - but this was irritating even given the very, very, very low expectations I carry into this particular venue.) Your comments about the staff echo my experience yesterday too, only I was in the stalls and hushed the staff up. It must be endemic there! |
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Post by sf on Nov 2, 2017 16:43:25 GMT
No idea about the upper circle. The dress circle was maybe two-thirds full. |
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Post by bimse on Nov 5, 2017 9:05:37 GMT
Saw the matinee yesterday (4th November) at the Palace Theatre, Manchester. Superb performance from Ria Jones, now my favourite Norma (I saw Patti LuPone, Petula Clark, Faith Brown). She has an amazing voice , and really does justice to what I think are some of ALW’s best songs . Fact is, she SINGS beautifully, and impressively. I’ve seen clips of Glen Close in this role, and to be honest, I found her uncomfortable to watch, yes she’s a better actress, but in this she’s way over the top, and her singing is not good enough for many of these songs. Just my opinion of course.
Danny Mac, who I had no prior knowledge of, was a revelation, perfect for Joe Gillis. Just one slight flaw (as a previous poster has observed) was his constant pronunciation of “ booo-leeeee-vard” in the second act opener was jarring , but these are two really fine principal performers . Adam Pearce was wonderful as Max, what a voice! Molly Lynch gave a lovely performance as Betty , in fact all the ensemble were well cast .
The set was well thought out, busy at times, good projections , but I would have liked to see a bit more gothic bling for the mansion interior, it was a bit too dark, and I wasn’t keen on the way Norma kept getting stranded at the top of the stairs , in view of the audience , before either returning back down stairs, or wheeled off on a tower .
Overall , I absolute loved this show , memorable performances all round , and I’ll try and see it again , maybe in Bradford . Liverpool is on the tour , but I’m not keen on the Empire.
On the merchandise front , I’m glad I was at the matinee, as programmes were selling out, and I noticed photocopies being prepared for the evening audience.
I sat in the front circle (I hate the overhangs at the Palace , in the rear stalls and circle , which make it appear like you’re looking through a letterbox, they should sell these seats as restricted view, the top of the set is rarely visible, not always an issue for some shows I know).
The circle was about 2 thirds full, and the gallery was open , so I guess not a bad matinee audience .
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