|
|
Post by ThereWillBeSun on Apr 1, 2022 20:14:03 GMT
Catching this next week! Don't know this show at all - never gets produced it seems.
|
|
|
|
Post by apubleed on Apr 1, 2022 20:20:27 GMT
If anyone is watching/listening for the first time the top tier songs are “there won’t be trumpets” “anyone can whistle” “me and my town” and “with so little to be sure of” in my opinion.
|
|
|
|
Post by ThereWillBeSun on Apr 1, 2022 20:43:57 GMT
It's a preview!
|
|
|
|
Post by matty on Apr 1, 2022 22:33:03 GMT
Well, this show is a bit bonkers isn't it. I was a bit sceptical at first, but ended up really enjoying it. Alex Young and Danny Lane had fantastic chemistry as the Mayoress and Comptroller. But generally the whole cast was really strong.
The show stop was only a couple of minutes, which I was quite pleased about as the cheese jokes were a bit much.
A few sound issues - I was sat on the far side and had trouble hearing quite a lot of lyrics at times. May have just been because it's the first preview, but hope they sort it out. From where I was sat I could also hear the sound desk guys talking quite a lot throughout - I get they may need to converse, but it's not a huge theatre and they weren't being overly quiet.
Overall, a really good night at the theatre and one I would recommend!
|
|
362 posts
|
Post by JJShaw on Apr 2, 2022 9:25:30 GMT
I like that theyve got some merch, thats fun! Couple t-shirts, a hat, and I think I'd like to get the water bottle as it doesnt scream MT but is nice and inkeeping with the show.
|
|
8,107 posts
|
Post by alece10 on Apr 2, 2022 9:29:46 GMT
I like that theyve got some merch, thats fun! Couple t-shirts, a hat, and I think I'd like to get the water bottle as it doesnt scream MT but is nice and inkeeping with the show. I like the water bottle it's one of those "if you know, you know" items which is fun. Don't think other shows at Southwark have had merch before. |
|
106 posts
|
Post by highonahill on Apr 2, 2022 15:09:45 GMT
I was there last night too. Agree with matty about it being completely bonkers! I'd never seen a production of this before, knew nothing about the 'story' or characters - only the songs that have been done as stand alone numbers. I really enjoyed it. The energy on stage and the comedic timing was fantastic. At times I had literally no idea what was going on, but it didn't detract from my enjoyment! Perfectly diverse casting made sense of the theme of corruption amongst those who lead and that individuality should be nurtured and cherished. |
|
1,485 posts
|
Post by Steve on Apr 2, 2022 22:04:54 GMT
Saw this tonight, and the book really is a nonsensical travesty, while the songs are a delight, but what distinguishes this production is an hilarious performance by Alex Young as "antagonist," Cora, who is actually the only person you can relate to. . . Some spoilers follow. . . I had seen a production of this at the Union Theatre five years ago, so supposedly I should have an advantage in understanding the plot, but only the motivations of Alex Young's Cora and her sidekick, Danny Lane's Schub, made any sense whatsoever. Everybody else were worried about who is and who isn't a "cookie" (a derogatory and insulting word for mentally ill people), and whether the audience were cookies as well, or indeed instead, of the people on stage; and whether the simplicity of being a cookie would or would not ruin the town's plot to create an economy out of a fake miracle. Needless to say, even if it were possible to follow such crap, you wouldn't really want to. Instead, you just delight in the infectiously energetic cast delivering rarely performed Sondheim songs, and taken apart from the plot, they are dynamic and fun to watch, using the full narrow but long central staging area, with the audience on both sides. This show is the polar opposite of the Union Theatre effort, which built Cora up into a genuine villain, who you could join the characters of Fay and Hapgood in rooting against. That does not happen here. If the Union's Cora was Cruella Deville killing puppies, Southwark's Cora is more like Dr Evil scheming for one billion dollars or like Rebel Wilson's Adelaide sex-positively determined to bed Nathan Detroit in the West End's somewhat recent Guys and Dolls. Simply put, like any basely motivated comic character, Alex Young's Cora wants sex and money, and who wouldn't want those things, especially when all anybody else cares about, except Danny Lane's Schub, is who is or isn't a "cookie." Schub just wants to provide Cora with sex and money, thus forming the counterpart of a perfect comic double act. And oh god is Alex Young's Cora a perfectly realised comic creation. Her childish comic campness, coupled with very real expression of relatable base desires, is so well done that she had the audience in stitches even when delivering some of the most awful script ever put to paper, simply by channeling the character's base desires as subtext to the entire script, no matter how awful the dialogue. Anyway, I had a ball of a time, as Alex Young, her double-act with Lane, the cast's youthful exuberance and Sondheim's songs are all great. But the book is execrable and the concept of "cookies" is dated and insulting. Overall, I loved this principally for Alex Young's comic turn, which lifted my enjoyment from a thoroughly baffled 3 stars to a laughing-out-loud 4 stars.  |
|
2,481 posts
|
Post by zahidf on Apr 3, 2022 0:06:02 GMT
Saw the matinee preview for this
The plot is utter rubbish but the songs and performances a lot of fun. I'd echo that going in, you should assume you'd laugh but just ignore the plot entirely.
|
|
|
|
Post by Deleted on Apr 4, 2022 11:36:16 GMT
Saw the Matinee on Saturday and I am very happy to say I loved it. Completely bonkers and camp as anything. This was my first whistle (was due to see the Union production but was too hungover to face the train journey) and very pleased it was my first. I have seen a lot of people saying they couldn't understand the plot, or at least aspects of it. But I completely understood it all, yes ok, it isn't exactly an amazing plot and book but was simple enough to follow. Alex Young is an absolute delight, I took from her performance, an amalgamation of many iconic camp females.
|
|
4,961 posts
|
Post by Someone in a tree on Apr 4, 2022 12:37:45 GMT
|
|
423 posts
|
Post by dlevi on Apr 5, 2022 7:33:33 GMT
I saw this last night and agree with almost everyone's assessment that the show is bonkers, but it always has been, that's why it is and always will be a cult item. A lot of the score is simply ravishing but 90% of the book simply doesn't make sense. This production specifically is enthusiastically performed and Alex Young is a delight but everyone else is just weird in their own individual way. If you've never seen the show before, you should see it just to tick that box on your Sondheim chart. But if you've seen it before in other productions, I don't think this one isn't going to illuminate the show for you in any way.
|
|
287 posts
|
Post by singingbird on Apr 5, 2022 9:01:08 GMT
Well, it's a big thumbs up from me! I actually think this production makes the show work, because it plays up the absurdity to the max. It's like being caught up inside a children's television show (particularly one from the 1960s - Banana Splits, say) that has gone completely off the rails.
Weirdly, the show is both completely of its time and way ahead of its time. You wouldn't focus on mental health in the same way in a piece of writing now (although, to be fair, the whole point is that none of the people who are being called 'mad' have real mental health problems, and they're certainly not any madder than those who deem themselves sane), but I think that audiences in 1964 just weren't ready for an absurdist musical, and they're probably still not ready now, sadly.
It's very much in keeping with a lot of early 1960s plays, like The Bedsitting Room or The Knack, both of which are from a couple of years early. I doesn't surprise me that Laurents wanted to have a go at translating that approach to musical theatre. The irony is that, while musicals by their essentially absurd heightened nature should be the ideal medium for this kind of theatre, musical theatre audiences tend to be very conservative.
While the show does kind of run out of steam a bit towards the end, and things get a little repetitious, the sheer playful audacity of the piece is stunning. This production scores high on nearly every count. My only major quibble is that Alex Young's singing didn't always cut through in the sound mix. Highlight performance for me was Chrystine Symone, who was absolutely incredible in the complex role of Nurse Apple.
Personally, I think this show should be seen as a major, ground-breaking piece of work that happens not to be to everyone's taste, rather than a failure with a good score.
|
|
|
|
Post by ThereWillBeSun on Apr 5, 2022 11:46:51 GMT
I was there last night too! ABSOLUTELY BONKERS. Alex Young looks like she's having the best time - utterly hilarious and I really hope she gets nominated for an Olivier one day. Chrystine Symone has a beautiful tone as well and enjoyed her performance. The sound mixing was a bit off at times didn't quite catch some moments. Glad I caught this one.
|
|
904 posts
|
Post by lonlad on Apr 6, 2022 9:09:42 GMT
|
|
|
|
Post by marob on Apr 6, 2022 10:54:05 GMT
Saw it yesterday afternoon. Sound was a bit off, struggled to make out the singing a few times over the music, and yes, it is bonkers, but I really enjoyed it. I can see how it wouldn’t work in a big theatre, but I’m surprised it’s not done more often in smaller venues.
Will have to finally get around to reading the two ‘Hat’ books. Don’t get why There Won’t Be Trumpets was cut from the original, it’s a real stand out moment. Some knowing laughter at the mention of being alive, though it’s “you can’t judge a book by it’s cover” that made my ears Pr**k up.
|
|
|
|
Post by FrontroverPaul on Apr 6, 2022 11:45:53 GMT
Saw it yesterday afternoon. Sound was a bit off, struggled to make out the singing a few times over the music, and yes, it is bonkers, but I really enjoyed it. I can see how it wouldn’t work in a big theatre, but I’m surprised it’s not done more often in smaller venues. Will have to finally get around to reading the two ‘Hat’ books. Don’t get why There Won’t Be Trumpets was cut from the original, it’s a real stand out moment. Some knowing laughter at the mention of being alive, though it’s “you can’t judge a book by it’s cover” that made my ears Pr**k up. Me too. I was the chap in the front row who was asked to say a few words in act one. Another board member was sitting close by and was approached to participate in a conga but politely declined. We encouraged the lovely lady sitting between us to join this forum ! I can only agree with your and the other comments. It's a very entertaining couple of hours, well-performed, some strong musical numbers, lots of fun but must be judged as a revival of a show which is very much of its time. I'd compare it to parts of the Rowan & Martin Laugh Ins which were around at about the same time. I think the Evening Standard review is a bit unfair about a show which well deserved to be seen again despite content that wouldn't be acceptable if written today. A few people left at the interval but I'd say the vast majority of the audience would give it an overall thumbs up. I often feel that the music in smaller theatres overpowers the singing at times. I'm not sure if it's worse because I'm usually in the front row of the stalls. I also struggled to hear some of the lyrics yesterday |
|
287 posts
|
Post by singingbird on Apr 6, 2022 13:07:34 GMT
|
|
382 posts
|
Post by stevemar on Apr 6, 2022 15:03:56 GMT
I’m afraid I didn’t really enjoy this. Yes, it was played in a way which was OTT and the storyline is a bit bonkers, but didn’t engage me and I didn’t really care for any of the characters. I realise some Sondheim’s are like this (Assassins) but I prefer something I can relate to (Merrily We Roll Along or Company).
So, sorry 2 stars from me. I’d say about 5-10% of the audience left after the interval. Partial standing ovation, so a marmite show. Glad I saw it though.
I enjoyed the performance by Alex Young (the Mayoress), the cast worked hard and one or two slight tuning issues (I’d prefer not to name the cast members).
I was in row B and same side (across the aisle) at the same performance as Marob, Paul26 (who spoke his lines with enthusiasm and aplomb), and the other lady board member who I thought was quite brave to decline the conga. Some young chap had the Mayoress on his knee twice.
I’m sure there were two famous actor faces front row on the opposite side of us, but I couldn’t name them or think what I’d seen them in (men in their 50s or so).
|
|
7 posts
|
Post by Daffodil on Apr 6, 2022 17:46:56 GMT
Well I was not expecting to be asked to dance - but I wish I had now! Nice to meet Paul26 and I’m glad he enjoyed the show, as I did. It was certainly different from anything I have seen before but in a good way.
|
|
148 posts
|
Post by FJ on Apr 6, 2022 19:11:20 GMT
I’m hoping to go and see this tomorrow evening and just looking at seats. Can anyone who’s been already tell me if there’s any benefit of sitting towards either side of the Theatre (the single digits and high 40’s seat number end, or the mid-20’s end?)
Just wondering if there’s set pieces at one particular end of the avenue that might mean a better view from towards the other end.
Thanks!
|
|
|
|
Post by FrontroverPaul on Apr 6, 2022 19:25:46 GMT
I’m hoping to go and see this tomorrow evening and just looking at seats. Can anyone who’s been already tell me if there’s any benefit of sitting towards either side of the Theatre (the single digits and high 40’s seat number end, or the mid-20’s end?) Just wondering if there’s set pieces at one particular end of the avenue that might mean a better view from towards the other end. Thanks! It's played on a long platform type stage with the audience on both sides so I'd say the view is equal from both ends though I always choose a central seat if available. Just avoid the front and maybe the second row if you don't want to be asked to speak, dance, have your hair touched or have someone sit on your lap ! |
|
148 posts
|
Post by FJ on Apr 6, 2022 19:51:54 GMT
I’m hoping to go and see this tomorrow evening and just looking at seats. Can anyone who’s been already tell me if there’s any benefit of sitting towards either side of the Theatre (the single digits and high 40’s seat number end, or the mid-20’s end?) Just wondering if there’s set pieces at one particular end of the avenue that might mean a better view from towards the other end. Thanks! It's played on a long platform type stage with the audience on both sides so I'd say the view is equal from both ends though I always choose a central seat if available. Just avoid the front and maybe the second row if you don't want to be asked to speak, dance, have your hair touched or have someone sit on your lap ! Perfect, row C for me then! Thank you! |
|
|
|
Post by ThereWillBeSun on Apr 6, 2022 23:07:51 GMT
I do agree with some of the points. BUT. I did enjoy it, in the sense I did laugh out loud so much just kinda rolled with it. |
|
1,471 posts
|
Post by mkb on Apr 7, 2022 20:18:32 GMT
Is the evening show coming out at/before 21:50, as per website? I've had two shows at this venue that were 25 minutes longer than the published running time, so I'd like some actual experiences.
|
|
