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Post by sph on Jun 17, 2023 16:43:58 GMT
I consider myself a supporter of the trans community, but never understood the connection with this particular show. The central character is not trans. He is a man pretending to be a woman for a specific reason, which is not what a trans woman is at all.
Certainly the original film includes a some jokes at the expense of trans people which will no doubt have been omitted from the stage version, but the central character is really no different to a drag performer, which is certainly not what a trans woman is.
Is it a little dated to laugh at the idea of a straight, cisgender man in a dress? Yes, I suppose so, but much of the comedy comes from the actual character of Mrs Doubtfire. The naughty old lady behaviour, the exaggerated accent, the farcical elements of having to be two people at the same time etc.
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Post by fluxcapacitor on Jun 18, 2023 5:01:28 GMT
I consider myself a supporter of the trans community, but never understood the connection with this particular show. The central character is not trans. He is a man pretending to be a woman for a specific reason, which is not what a trans woman is at all. Certainly the original film includes a some jokes at the expense of trans people which will no doubt have been omitted from the stage version, but the central character is really no different to a drag performer, which is certainly not what a trans woman is. Is it a little dated to laugh at the idea of a straight, cisgender man in a dress? Yes, I suppose so, but much of the comedy comes from the actual character of Mrs Doubtfire. The naughty old lady behaviour, the exaggerated accent, the farcical elements of having to be two people at the same time etc. I totally agree. I should have made clear in my original post that I don’t agree with the backlash, but I think the timing for Mrs Doubtfire was unfortunate on Broadway given the vocal criticism of Tootsie (a show I loved!) which meant the discussion was active and raw and Mrs Doubtfire producers didn’t really do anything to help difuse them. Had it opened in isolation I don’t think it would have been such an issue, and between that and Covid the show was rather cursed from the start just due to timing. I can’t see it being a factor here. |
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Post by BVM on Jun 18, 2023 9:19:17 GMT
I couldn’t agree more with what theatrefan77 said about the portrayal of gay characters in this show. It’s woefully dated and not the least but funny. It feels like watching something from the 1970s. Since this show tanked on Broadway, I’m surprised the producers are trying their luck with it here. I know some shows have triumphed here after failing to do so on Broadway, but I’m not sure why that would be the case with this one. A long running bugbear of mine - portrayal of gay characters in musicals is abysmal and I remain appalled by how it's failed to move on over decades (and seriously - an industry with so many gay creatives....) As for Broadway vs here - am not massively surprised they felt they could take a punt on the West End. Film musicals that mainly involve slapping a well loved film straight onto stage, adding a serviceable unremarkable barely memorable score, generally fare pretty well in London. Better than on Broadway I'd say. So I think one could expect Doubtfire to do better here. In fact in general, in the current post pandemic era, I do think Broadway is doing a better job bringing in new and varied things (Shucked, New York New York, Here Lies Love, Kimberley Akimbo, Sweeney Todd, Some Like It Hot etc etc currently) than the West End. We've had quite a bit of decent fringe/subsidised sector (some of which has transferred) but the jukeboxes and films still dominate. Which does sadden me slightly. |
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Post by BVM on Jun 18, 2023 9:23:44 GMT
Mrs Doubtfire has nothing to do with trans issues, and it’s ridiculous that it’s been caught up in it. Totally agree and that's the point really - Mrs Doubtfire simply has nothing to do with trans issues. I'd always defend equal rights for trans people but my gut feeling is that this show is in no way connected. (Happy to listen with an open mind to trans people who feel otherwise though). |
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Post by anthony40 on Jun 18, 2023 17:16:41 GMT
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Post by Figaro on Jun 18, 2023 18:23:53 GMT
Does anyone know of any discounts yet apart from today tix rush? I know it’s early days…
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Post by Mark on Jun 18, 2023 23:15:16 GMT
Does anyone know of any discounts yet apart from today tix rush? I know it’s early days… They also have in person dayseats and have had some discounts on TKTS |
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Post by corblimey on Jun 22, 2023 23:14:02 GMT
Sorry if anyone has mentioned this before but the Front Row A is a waste of money even at £30,the stage is higher than any other I’ve ever experienced in the many front rows I have sat in.
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Post by Dr Tom on Jun 23, 2023 8:57:52 GMT
I saw this from the front row on Wednesday. Just as good as in Manchester. Gabriel Vick has new jokes and impressions (not sure how often they change). For an American, Daniel Hillard has rather an obsession with Boris and Charles! Gabriel is such a talented actor.
I don't remember the Mrs Doubtfire mask being as scary looking before, especially with glasses hanging off at an odd angle for much of the time!
Always good to see the Heathers' alumni in the cast. Vicki Lee Taylor is so underused, but I guess she's cover Miranda.
The front row is rather difficult. At 5'8" and sat bolt upright, I could see enough to the point I was happy. I did feel rather sorry for a mother and two young children (maybe 7 or 8 years old) sat at the other end of the row. All three of them stood up at various points, and the children could only just see over the top of the stage even standing. They were very well behaved considering.
I paid (I think) £27.50 for the front row, which is fine, but they have these seats priced up to £60 (depending, I suspect, on the date and dynamic pricing), which is mad. I'll likely try for Rush next time.
This is a real feelgood show.
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Post by Someone in a tree on Jun 23, 2023 12:02:02 GMT
The reviews I've read so far comment on gay identity but none on the creepiness of a guy disguising himself - is that addressed in the show ?
Call me woke, I really don't care!
They also praise the costume changes but not the score.
Oh dear
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Post by theatreian on Jun 23, 2023 12:28:16 GMT
Gabriel is such a talented actor. Yes I remember seeing Gabriel in Promises Promises. Thought he was excellent. |
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Post by anthony40 on Jun 23, 2023 12:39:57 GMT
Gabriel is such a talented actor. Yes I remember seeing Gabriel in Promises Promises. Thought he was excellent. I also saw him as Henrik in the Menier's A Little Night Music. I also saw him in Once and the Kinks Musical. He also played the son who brings home his fiance in La Cage aux Follies. |
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Post by alece10 on Jun 23, 2023 13:29:46 GMT
He also directed Miss Atomic Bomb at St James Theatre.
I loved that musical as it was totally bonkers and Simon Lipkin had a brilliant comedy role in it.
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Post by evilmat360 on Jun 23, 2023 16:00:08 GMT
With the reviews now out, looks like they've announced an extension beyond the original January 2024 booking period. With tickets on sale up to June 2nd 2024.
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Post by anthony40 on Jun 23, 2023 16:43:11 GMT
He also directed Miss Atomic Bomb at St James Theatre. I loved that musical as it was totally bonkers and Simon Lipkin had a brilliant comedy role in it. Yes, I remember that. In fact I still have a postcard stuck on my fridge! |
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Post by Stephen on Jun 24, 2023 22:32:49 GMT
‘That’s 30 minutes of my life I’ll never get back’ says one of the kids half an hour in to the ‘new comedy musical’ an understatement.
This musical assault on the senses has no nuance, no comedy and ultimately no heart.
The prosthetic/mask was confusing and creepy. It barely moved when the character spoke!
This evening the eldest child was played by what seemed to be an ensemble member in their 30s…very confusing and difficult to see past. Had to chuckle when Daniel says ‘you’ve grown up so much’ at the end. Literally.
Gone are the days when laughing at men in dresses was funny. Was it ever really? But the audience didn’t seem to think so…happily chuckling away at line after line of dud jokes.
Mr Vick is working hard but it’s more a case of quantity over quality with lots of not quite great impressions and confusing cultural references which don’t fit the setting.
Having enjoyed listening to the soundtrack with Rob McClure I was surprised that not a single song stood out as enjoyable.
The Shaftesbury Theatre staff were being very helpful and patient dealing with complaints about the heat. Incase you are planning to go during the heatwave please note that it was as warm in the theatre as outside. Incredibly hard uncomfortable seats on the end of Stalls Row M too.
What is it Mrs D says ‘oh dearies’ Being generous, 1 star poppets.
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Post by NorthernAlien on Jun 25, 2023 9:01:47 GMT
I saw it on Thursday (yes, Press Night). Stalls, Row T.
I've read through the reviews here, and I agree with the comment about it being a three star production with a five star performance. Gabriel Vick is really great - especially when he's allowed to make the role his own, rather than having to try to channel the spirit of Robin Williams - who is the huge elephant in the room here.
I also agree with the several other comments talking about the lack of memorable songs - three days on I can recall one line from the song that closes act one, and similar from one of the songs in act two.
The plot is barely there. You can tell that Frank and Andre are gay because they wear animal print, block heels, and mince a bit. It's lazy and reductive, but those actors are trying their best. All the actors are trying their best, but it's all just so thin - and the inclusion of lots of British references and character impersonations doesn't make sense if you think about it for more than about three seconds.
There's also the unfortunate problem that, in the time between the movie and now, we've had the "Fathers for Justice" movement/campaign in the UK, and the entire premise has a whiff of being about a member of that group that we're supposed to sympathise with, despite his patently appalling behaviour as a husband, father, and employee. You could make a production that ran that storyline, but it's not this one, and all that Daniel's crassness in Act One does is make you think that his wife did the right thing. It's compounded by Daniel hacking into Miranda's emails on his phone, something he's very proud of, rather than slightly contrite about and/or shown as being doing it out of desperation - in short, the character's sense of entitlement to do whatever he wants is so high that he could be one of the Tory politicians he impersonates.
I suspect the reason the reviews published so far have focused on the technical aspects is because they're where this is good. There's obviously been a lot of money spent on the set, all the bits of which look fantastic. The transformation from Daniel into Mrs D (and back again), is also really well executed, and quick. At a couple of points they show you the trick, and it still remains impressive.
Overall however, this is too long, too unmemorable, and, from the programme notes, heading towards being a project of love on the part of the Producer, rather than a decent show. I've looked back on here, and when it was in Manchester, people seemed to like it. I wonder if something significant has changed since it ran there?
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Post by capybara on Jul 31, 2023 10:43:43 GMT
I tried for rush tickets today but didn’t have any joy getting singles or pairs. I’m guessing it’s a combination of the show still being relatively new to the West End and the school holidays.
I might leave it until the autumn before trying for rush tickets again but, in the meantime, does anyone know of any offers or deals for this show? It seems quite expensive on most websites right now.
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Post by mrbarnaby on Jul 31, 2023 11:09:57 GMT
Does Graham Vick do all 8 shows?
Feel like I need to tick this off the list- but also keen to know if there any offers for it
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Post by jarnew on Jul 31, 2023 13:50:56 GMT
Everything ive seen so far concerning this production, and this musical in general, gives off a very soulless and artificial impression to me. Its why im not running to get a ticket for it, unless I could get it for cheap and nothing else is on. But am I alone on this? Because it seems to be selling relatively well for now!
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Post by richey on Jul 31, 2023 15:43:05 GMT
Everything ive seen so far concerning this production, and this musical in general, gives off a very soulless and artificial impression to me. Its why im not running to get a ticket for it, unless I could get it for cheap and nothing else is on. But am I alone on this? Because it seems to be selling relatively well for now! It's not just you. I really didn't enjoy it im Manchester but again I felt I was in a minority |
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Post by ladidah on Jul 31, 2023 15:55:50 GMT
I agree with you, this should be a show on my list but I've got no interest at all.
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Post by midge on Jul 31, 2023 15:57:06 GMT
I agree with you, this should be a show on my list but I've got no interest at all. Same! But then again, when the strength of the film is largely Robin Williams, what's the point in even trying when no one could ever come close? |
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Post by ladidah on Jul 31, 2023 16:00:35 GMT
I think that's the issue, it's a film entirely based on his performance.
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Post by toomasj on Jul 31, 2023 17:49:25 GMT
I agree with you, this should be a show on my list but I've got no interest at all. Same! But then again, when the strength of the film is largely Robin Williams, what's the point in even trying when no one could ever come close? This is a problem I’ve often had in the past with iconic screen performances being recreated on stage. Mary Poppins, for example, left me completely cold because despite lovely sets, gorgeous choreography and dancing and a strong cast, the whole time I was simply mentally comparing to Julie Andrews and Dick Van Dyke. Same with Connie Fisher and The Sound of Music, The Wizard of Oz and many others including plays such as Harvey, Breakfast at Tiffany’s and so on. I realise it’s completely unfair on the production and the cast to compare like for like, but sometimes they make it very easy to by copying the movie in everything from looks to characterisations beat for beat. I appreciate this is more the case for movie musicals, but for me the success is had when characters are made unique by actors allowed to put their spin on the character through brave direction and derring do. I’d use Roger Bart in Back to the Future as an example of this, giving a very different performance to Christopher Lloyd in the movie. Essentially what I don’t want is an impersonation of a famous performance in a well known IP, but on stage. |
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