19,676 posts
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Post by BurlyBeaR on May 7, 2022 9:52:52 GMT
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195 posts
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Post by tal on May 7, 2022 10:55:31 GMT
I’m seeing it this afternoon (double bill with Hedwig in the evening). I really enjoy the score and it’s my first time seeing it live, so I’m looking forward to it.
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594 posts
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Post by og on May 7, 2022 11:01:56 GMT
Looking forward to hearing reports.
It looks reminiscent of their production of Aspects (minus a few specials) which fills me with some dread.
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Post by mrbarnaby on May 7, 2022 13:34:08 GMT
It looks so cheap.
And no attempt to make Ruthie look a bit uglier?
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Post by nottobe on May 7, 2022 13:44:23 GMT
Considering most of the tickets are £40 you would expect a bit much. Yes it is fringe but that much for a fringe show is very steep!
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Post by jaggy on May 7, 2022 19:49:52 GMT
I’m seeing it this afternoon (double bill with Hedwig in the evening). I really enjoy the score and it’s my first time seeing it live, so I’m looking forward to it. By any chance could you please let me know how the seating is structured. I’ve never been to this theatre before and I’m worried about what the view will be like. Is the seating on a slant or on one level? |
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19,676 posts
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Post by BurlyBeaR on May 7, 2022 19:54:58 GMT
I’m seeing it this afternoon (double bill with Hedwig in the evening). I really enjoy the score and it’s my first time seeing it live, so I’m looking forward to it. By any chance could you please let me know how the seating is structured. I’ve never been to this theatre before and I’m worried about what the view will be like. Is the seating on a slant or on one level? It’s a tiny theatre. The first 4 rows are ground level so I would avoid, after that it’s tiered. Even if you choose the very back row you are ridiculously close to the action. |
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Post by jaggy on May 7, 2022 21:54:26 GMT
By any chance could you please let me know how the seating is structured. I’ve never been to this theatre before and I’m worried about what the view will be like. Is the seating on a slant or on one level? It’s a tiny theatre. The first 4 rows are ground level so I would avoid, after that it’s tiered. Even if you choose the very back row you are ridiculously close to the action. Thank you! |
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Post by joeyk713 on May 8, 2022 5:41:46 GMT
How’s my wifey?
My friends call her that cause I love Ruthie.
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91 posts
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Post by anniel on May 8, 2022 6:24:02 GMT
Thought this was stunning last night. Really simple staging but it only added to the intensity of the story. It reminded me of a Whistler painting - it is quite light but it is ethereal and so made it all seem quite fragile.
Stunning performances all round. Dean John Wilson was a revelation - he sang beautifully. Kelly Price (apart from a horrible costume) was really first rate and Ruthie Henshall was also very very good. It is such difficult music to sing but she was utterly convincing - a very calm madness I felt. Really understated which suited the set and the small venue. Of course she is not ‘homely’ looking but you did see her initial repression open up into this forceful love.
I was in a group of Sondheim sceptics and we were all gripped. The orchestra was great too.
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4,961 posts
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Post by Someone in a tree on May 8, 2022 6:33:10 GMT
Hi anniel thanks for the great review. Could you list the instruments used in the band (assuming it's listed in the programme) - I'm a orchestra geek and this kind of thing fascinates me! Please and ta |
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Post by anniel on May 8, 2022 7:22:47 GMT
Hi anniel thanks for the great review. Could you list the instruments used in the band (assuming it's listed in the programme) - I'm a orchestra geek and this kind of thing fascinates me! Please and ta There is a keyboard, piano, a violin, double bass and flute/clarinet. It was enough actually - really delicate and meant every word was heard. |
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Post by Someone in a tree on May 8, 2022 7:28:23 GMT
Thank you. That arrangement would work perfectly in a small space
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Post by og on May 8, 2022 7:31:55 GMT
Hi anniel thanks for the great review. Could you list the instruments used in the band (assuming it's listed in the programme) - I'm a orchestra geek and this kind of thing fascinates me! Please and ta There is a keyboard, piano, a violin, double bass and flute/clarinet. It was enough actually - really delicate and meant every word was heard. Ooo interest piqued. |
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Post by Deleted on May 9, 2022 8:19:30 GMT
Saw the Saturday Matt, we are huge Sondheim fans but this was our first "Passion". Sad to say the show did absolutely nothing for us. Production was fine and cast (apart from one who seems to still need some time on book) gave it their all. Just the show was not for us, we felt absolutely nothing for any of the characters and left us feeling cold. Normally I will cry at a letter being opened but nothing from this. Kelly Price stole the show, she was absolutely outstanding and couldn't take my eyes off of her whenever on stage!
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19,676 posts
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Post by BurlyBeaR on May 9, 2022 20:02:35 GMT
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Post by couldileaveyou on May 11, 2022 16:30:41 GMT
Mixed to positive reviews for this after opening night: 4* from the Guardian and 3* from WoS and The Times.
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Post by panda on May 12, 2022 18:05:32 GMT
I saw this last night and was massively impressed. I've previously seen both the original London and Donmar revival productions live, along with the video of the original Broadway production and the concert with Patti Lupone.
I was kind of dreading going to see it, if I'm being honest. I've seen a couple of shows at the Hope Mill Theatre and been a bit 'meh' about them. But I think its a really lovely space with delightful staff and a real sense that this place has the potential to deliver something that I would be swept away by.
I was also aware of some of the videos on Youtube featuring Ruthie Henshall dropping off some sustained notes and sounding flat. I am a massive fan, having seen her in almost every production she's performed in the UK since the ensemble in the original Miss Saigon cast, her first performance covering Ellen in the same production, and a small role in the ill fated 'Children of Eden'. I have fond memories of all the shows I've seen her in; she's always shone - even in The Woman in White and Peggy Sue Got Married! Now though, her voice has changed. She's older now, changes to the voice happen to many over time. I've always thought she totally commits to her performance with both her acting and voice, however, without the ease of producing the reliable soaring mezzo voice or belting out in true broadway style that we're used to, has had to evolve and capitalise on the other things she delivers well. In this role, her singing is more staccato yet completely married to the pain and anguish of the character, a great contrast to the points in the show where she does soar vocally, or when she digs down into the deep growls reminiscent of her 'Chicago' days. She still has it! She just has to work for it a bit more now. I'd be interested to understand the reasoning behind the directorial choice not to make her appear ugly? There are numerous references in the text to Foscas appearance, yet Ruthie is still beautiful and certainly wouldn't repel anybody. Although this 'key' part of the text was not addressed (to me, at least) overall it felt like the text had been worked on in considerable detail. The emotional arc for Fosca, Georgio and Clara seemed more defined in this production than any I've seen previously.
Dean John-Wilson was, as someone above states, a revelation. I never saw Aladdin, but had watched a few clips online and couldn't imagine his portrayal of Gergio, but the intensity of his performance is heightened somewhat by his appearance. He seems younger than other actors I've seen in the role, and to see such torture, confusion and regret in his eyes so close in this auditorium is completely engaging.
Kelly Price was simply electric! I've never seen her in anything before, and am regretting now, not seeing 'Aspects of Love' at the same theatre. I can honestly say every portrayal of Clara I've seen from previous productions has washed over me with little effect. Such a brilliant through line for the character that I don't feel has been exposed to this extent before. Excellent!
Tim Walton gives a lovely performance as Colonel Ricci. He seems to be an actor who hasn't had the success he deserves - previously seen him in the original casts of 'The Witches of Eastwick' and 'Stephen Ward' - he just seems like a really solid choice for guaranteed results - he'd make a great Duke of Weselton in Frozen!
Shout out to Juan Jackson as the Count too! Didn't feel like there was a weak link in the cast, with one small exception - why is Ray Shell still tripping over bits of the script? His acting choices were lovely, but he must have stumbled over lines 5 or six times. Again, have been a bit of a fan of his since 'Children of Eden', 'Starlight Express' and 'The Bodyguard' and was a bit sad to see him seemingly lag behind the preparation of the rest of the cast.
Gone are the sweeping, operatic orchestrations, huge set and decent dresses for the ladies but in with bucket loads is emotional tension and clear storytelling. Loved it and would go back tomorrow.
PS. To Hope Mill Theatre,
I would be there again tonight if there was a £10 standby ticket being sold on the day - there must have been 50% empty seats last night!
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Post by AddisonMizner on May 21, 2022 3:58:38 GMT
Is this straight through as it should be, or is there an interval?
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Post by benny20 on May 21, 2022 8:46:17 GMT
Is this straight through as it should be, or is there an interval? There is an interval |
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Post by theoracle on May 21, 2022 21:40:18 GMT
I really enjoyed this - maybe not enjoyed but was very engaged by the show. To see Dean-John Wilson with his shirt off open the show was a great treat and it's great to see him really shine in this show having seen him in a few things previously. Kelly Price was gorgeous and sang the score effortlessly. The musical arrangements were very good and felt very immersive in the intimate space of the Hope Mill. My first time at this theatre and I felt very welcomed inside, although I found the location a little awkward and if Google Maps didn't exist, I reckon it would've been very difficult to find. As for Ruthie Henshall's Fosca, I found her rather scary and quite intimidating, especially from sitting on the front row. There's not many moments of levity and so this definitely falls in the musical drama category rather than any comedy, so it's a stark contrast to Anyone Can Whistle which we got to see in Southwark. I also wish there was a proper programme available to purchase though as I would've loved to have read more information about the show and the characters and the development of his production.
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Post by inthenose on May 22, 2022 5:12:36 GMT
I really enjoyed this - maybe not enjoyed but was very engaged by the show. To see Dean-John Wilson with his shirt off open the show was a great treat and it's great to see him really shine in this show having seen him in a few things previously. Kelly Price was gorgeous and sang the score effortlessly. The musical arrangements were very good and felt very immersive in the intimate space of the Hope Mill. My first time at this theatre and I felt very welcomed inside, although I found the location a little awkward and if Google Maps didn't exist, I reckon it would've been very difficult to find. As for Ruthie Henshall's Fosca, I found her rather scary and quite intimidating, especially from sitting on the front row. There's not many moments of levity and so this definitely falls in the musical drama category rather than any comedy, so it's a stark contrast to Anyone Can Whistle which we got to see in Southwark. I also wish there was a proper programme available to purchase though as I would've loved to have read more information about the show and the characters and the development of his production. |
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Post by AddisonMizner on May 22, 2022 17:06:33 GMT
Just out of today’s matinee. This really was ravishingly beautiful! Some really fantastic acting, direction and use of lighting.
The score sounded gorgeous. I had shivers down my spine at points, and tears in my eyes. The last 20 minutes from “Loving You” onwards were stonkingly good. It is Sondheim’s most achingly romantic score. Nice to hear the “I Love Fosca” version of “No One Has Ever Loved Me” (I wish I could get my hands on the sheet music for this!), even though I don’t think it works dramatically, as I feel it undermines the revelation to Fosca.
My only slight quibble is the inclusion of an interval. It really should not be there. It totally breaks the dramatic and emotional momentum of the piece. It was Sondheim’s intention for this to be like one long love song, but this is not achieved with an interval plonked in the middle of it.
Otherwise, this is a top class production, and deserves a future life.
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Post by david on May 22, 2022 19:46:18 GMT
I popped over to Manchester for a bit of Passion at the Hope Mill this afternoon. As a completely unknown show to me, I really didn't know what to expect but after the 2hrs 10-minute running time whilst James Lapine's book didn't really do much for me I'm afraid, I came away loving Sondheim's score performed by a stunning cast and orchestra of 5. One thing I have learned from today's visit is to never book a row C seat again for future visits to HM. Despite being close to the stage, there really was a sightline issue from the row in front so I spent the majority of Act 1 trying to look around the guy who sat in front of me who was also moving to see the show. Anyway, thankfully as this afternoon's show wasn't a sell out the FOH team allowed me to move to the front row for Act 2 which was a much better viewing experience. I'd agree with AddisonMizner , I don't think an interval should have been included as it certainly interrupted the show's dramatic and emotional momentum. I certainly would of ditched the interval and ran the show straight through. As I said, the book really didn't do much for me as I couldn't invest any emotion into any of the characters, though the cast performances led by Ruthie Henshall were just a joy to watch. All the performances and vocals were top drawer stuff this afternoon in that lovely intimate setting of the Hope Mill auditorium despite the uncomfortable seating. There really isn't a weak link in any of the cast. A really big surprise was Dean John-Wilson who I last saw as Aladdin at the Prince of Wales. I couldn't get into that performance, but in Passion as Giorgio he looked mighty fine as an officer but the acting and singing here was just sensational bringing a real raw emotion to the part and score. Also, Kelly Price was another one who was a joy to watch every time she was on stage singing. Can we please get her back ASAP as quite honestly, listening to her was worth the ticket price alone. It was great to see Ruthie H up close and she really did wring every ounce of emotion from the role. To the creative team of this show, well done. MD Yshani Perinpanayagam and the orchestra were spot on and along with some nice lighting design by Charlie Morgan Jones made for a pleasant afternoon's theatre viewing in Manchester. |
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Post by og on May 23, 2022 17:42:55 GMT
Those that have seen it, the first two seats on the front row are marked partial restricted view. Is it just up stage right action missed off due to the depth of the performance space?
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