Aspects of Love w/ Michael Ball - Lyric

[gloin007]

Jul 15, 2023 6:41:50 GMT magnificentdonkey said:

Jul 14, 2023 15:15:17 GMT chernjam said:

A very, very kind soul shared an audio of this production...

Ngl I'd LOVE to listen to it as well... Is there any chance?

Me as well!

[BurlyBeaR]

We can’t promote bootlegs here please.

We do have a very handy private messaging system though.

Thanks.

[BVM]

So saw this again twice this week, once on Monday and once yesterday evening.

It's definitely grown on me and I now spend long sections of the show in a very pleasant trance like state thanks to the gorgeousness (is that a word?) of the score. I am drawn in and invested in the characters by the end and LPP's Anything But Lonely is possibly my favourite moment currently available on a West End stage. Why oh why do they not give her the big finish making it clear to applaud (audience applaud about half the time as it's not obvious!)

I do still find sadly that the atmosphere comes crashing down for the awful ugly circus scene and for the woefully underpowered Hand Me The Wine And The Dice. But, yup this little production has gained in appeal for me otherwise.

I saw Vinny Coyle as Alex last night. Very fond of him as he's one of those actors that seems to have been cast in so many of my favourite musicals. Seen him in Les Mis, Phantom, Miss Saigon (he was a fantastic Chris) and Cinderella. I really liked his Alex. He has a gorgeous pitch perfect classic musical theatre voice and was quite an innocent and sweet Alex, especially in the first act. My only complaint is why did they have to lumber him with the American accent. Honestly, drop the two references to Maine and let him use his normal accent!

The last three times I've been it has been much fuller. Not sure if it's selling better (can I be hopeful?), it's papering more (seems unlikely, don't they run out of places to go to paper in the end?), re-bookings from now cancelled months (advance was low so also seems unlikely) or people who were leaving it to book for later in run decided they do want to see it before it closes. Anyway - no idea what the reason is but nice to see it a bit fuller. And certainly deals which were everywhere seem to have dried up - so guess that is a good sign.

And the best thing about this show - perfect audience behaviour! Never had any problems all the times I have been. Very rare in a West End musical these days.

Final thought is that audiences now seem genuinely appreciative of it. Made me think they need to market it to the right audience. Was obvious in retrospect the blogeratti, MJT, the social media generation etc etc were never gonna like it so why do they invite the kinda people that are gonna laugh at the death scene or "get the ick" every 5 minutes etc to the press night? They could have got better initial responses by inviting the demographic more likely to appreciate it.

Anyway, relieved it seems to be going out in better shape and not whimpering to an empty theatre demise.

I do hope there will be a future for it!

(Also delightful to be there with my lovely German friend viserys last night!)

[Rory]

It seems a real shame that this is closing early.

Hopefully something decent will be replacing it and not dross.

[anthony]

Jul 16, 2023 11:15:49 GMT BVM said:

So saw this again twice this week, once on Monday and once yesterday evening.

It's definitely grown on me and I now spend long sections of the show in a very pleasant trance like state thanks to the gorgeousness (is that a word?) of the score. I am drawn in and invested in the characters by the end and LPP's Anything But Lonely is possibly my favourite moment currently available on a West End stage. Why oh why do they not give her the big finish making it clear to applaud (audience applaud about half the time as it's not obvious!)

I do still find sadly that the atmosphere comes crashing down for the awful ugly circus scene and for the woefully underpowered Hand Me The Wine And The Dice. But, yup this little production has gained in appeal for me otherwise.

I saw Vinny Coyle as Alex last night. Very fond of him as he's one of those actors that seems to have been cast in so many of my favourite musicals. Seen him in Les Mis, Phantom, Miss Saigon (he was a fantastic Chris) and Cinderella. I really liked his Alex. He has a gorgeous pitch perfect classic musical theatre voice and was quite an innocent and sweet Alex, especially in the first act. My only complaint is why did they have to lumber him with the American accent. Honestly, drop the two references to Maine and let him use his normal accent!

The last three times I've been it has been much fuller. Not sure if it's selling better (can I be hopeful?), it's papering more (seems unlikely, don't they run out of places to go to paper in the end?), re-bookings from now cancelled months (advance was low so also seems unlikely) or people who were leaving it to book for later in run decided they do want to see it before it closes. Anyway - no idea what the reason is but nice to see it a bit fuller. And certainly deals which were everywhere seem to have dried up - so guess that is a good sign.

And the best thing about this show - perfect audience behaviour! Never had any problems all the times I have been. Very rare in a West End musical these days.

Final thought is that audiences now seem genuinely appreciative of it. Made me think they need to market it to the right audience. Was obvious in retrospect the blogeratti, MJT, the social media generation etc etc were never gonna like it so why do they invite the kinda people that are gonna laugh at the death scene or "get the ick" every 5 minutes etc to the press night? They could have got better initial responses by inviting the demographic more likely to appreciate it.

Anyway, relieved it seems to be going out in better shape and not whimpering to an empty theatre demise.

I do hope there will be a future for it!

(Also delightful to be there with my lovely German friend viserys last night!)

It seems to be selling significantly better. This time 3 weeks ago, you were getting band A tickets for £20 on the day of the performance through TodayTix and Tkts. Now the discounts seem to be around the 20% mark. 

[chernjam]

It does seem like they are still trying to figure out the marketing thing post-COVID (and is the rail strike still going on out there?)... Perhaps if they had only announced a shorter run (16 weeks like Sunset) it would've sold better initially and then they could have extended or closed on time without the sting of the current scenario? As has been discussed, AOL has become a niche musical. MB popularity has probably diminished due to over-exposure so as a draw that was probably exaggerated. As a huge fan of ALW and AOL this whole thing saddens me as its unlikely I'll ever get to see a real revival here in the US and with the new closing date, flying over to the UK wasn't possible. Glad to hear things have picked up though

[max]

Really odd phrasing on the official website:

"The strictly limited season of Aspects of Love will end at the Lyric Theatre on 19th August 2023 prior to the company’s summer break".

Too much information ending up sounding like an excuse. As if the members of the company all found they had holiday....or it's a break and they'll be back somewhere else? (I don't think so).

Really would have been better to gift Michael Ball's idea for a production to a regional theatre, and then if it turned out to be a revelation bring it in for a very limited season. I'd say that's the way to go with some other Lloyd Webber shows.

[Rory]

Jul 17, 2023 21:36:52 GMT max said:

Really odd phrasing on the official website:

"The strictly limited season of Aspects of Love will end at the Lyric Theatre on 19th August 2023 prior to the company’s summer break".

Too much information ending up sounding like an excuse. As if the members of the company all found they had holiday....or it's a break and they'll be back somewhere else? (I don't think so).

Really would have been better to gift Michael Ball's idea for a production to a regional theatre, and then if it turned out to be a revelation bring it in for a very limited season. I'd say that's the way to go with some other Lloyd Webber shows.

What a weird thing to say on the website!

[chernjam]

I guess they're hoping people forgot that the original run was thru November - and if it started to sell out they could tell Michael Ball to unpack his bathing suit?

[oedipus]

I caught this over the weekend and was deeply disappointed; judging from the chatter of those around me as we left (“awful ending” complained one female couple; “simply terrible” noted another pair), the handwriting was on the wall for this. I don’t think I’ve ever exited a West End show with so many baffled patrons.

It’s the plot. I get that ALW was trying his best to expand his range with this quasi-chamber-opera, and I appreciated the weirdness of that starkly-lit quartet in the second act, which is the sort of thing that opera does best. But, egads, even with some cleaning up, the plot is still, well, icky, even distasteful, particularly with the introduction of the young cousin.

For what it’s worth, I saw it with Vinny Coyle (sp?) as Alex, and he was great. Understudies/covers are *amazing*.

[Jon]

Jul 17, 2023 23:20:45 GMT chernjam said:

I guess they're hoping people forgot that the original run was thru November - and if it started to sell out they could tell Michael Ball to unpack his bathing suit?

I suspect Nimax has likely found the next show already so extremely unlikely they'll cancel the closing notice.

[141920grm]

Was at the show yesterday- alt George day- the auditorium was a sad sight, stalls & dress circle a quarter full with grand circle & balcony closed off. Perhaps because of that (or general Monday blues) I noticed some of the principal cast were not giving as much, including vocally. A real shame, as Dave sings and acts George so differently and so well (I've seen him several times and enjoy him so much I have been recommending Mondays to friends), though most of the paltry audience did give a standing ovation at the end, and I saw Dave receiving many sincere compliments at stage door.

Dislike how Mondays are marketed as 'non-Michael Ball days' (though of course understand the reasons) as it's a fantastic George performance people will be missing out on.

Agree with @bvm re repeat visits (have done the same) and especially re Vinny- what a difference a well-acted, well-sung Alex makes! He should honestly be alternate or sharing the role 50/50, so returning audiences can see something new... Having seen him last Fri and Sat, then the principal yesterday... the difference in chemistry with Laura is very noticeable lol. Overheard some theatre staff gushing about Vinny's performance over the weekend too, so he's obviously popular- not just among existing fans like myself.

[richey]

Jul 18, 2023 14:54:27 GMT 141920grm said:

Was at the show yesterday- alt George day- the auditorium was a sad sight, stalls & dress circle a quarter full with grand circle & balcony closed off. Perhaps because of that (or general Monday blues) I noticed some of the principal cast were not giving as much, including vocally. A real shame, as Dave sings and acts George so differently and so well (I've seen him several times and enjoy him so much I have been recommending Mondays to friends), though most of the paltry audience did give a standing ovation at the end, and I saw Dave receiving many sincere compliments at stage door.

Dislike how Mondays are marketed as 'non-Michael Ball days' (though of course understand the reasons) as it's a fantastic George performance people will be missing out on.

Agree with @bvm re repeat visits (have done the same) and especially re Vinny- what a difference a well-acted, well-sung Alex makes! He should honestly be alternate or sharing the role 50/50, so returning audiences can see something new... Having seen him last Fri and Sat, then the principal yesterday... the difference in chemistry with Laura is very noticeable lol. Overheard some theatre staff gushing about Vinny's performance over the weekend too, so he's obviously popular- not just among existing fans like myself.

I'd love to see one of the Vinny/ Dave performances but sadly don't think I'll be able to get down to London again before it closes

[chernjam]

The more I've listened to the revival A couple of random thoughts:

- the more the placement of Love Changes Everything doesn't work for me. Lyrically, musically, context it just doesn't make sense to me. While for this 30+ year fan its a bit awkward not having it at the start and knowing the history of the show how ALW didn't necessarily want that to open the show - I think it would work better as a close to Act 1 with Alex singing it. Hearing the (then) surprising news that George and Rose were married and expecting - I think dramatically it makes more sense there and would be a great Act 1 finale.

- I do like the expanded Chanson d'enfance (with the inclusion of the extended version that was used for "If Only" from Whistle Down the Wind) the first time I heard it, I didn't quite get why Rose was singing it twice, but I get it,she's having a mountain top moment, goes and gets Alex and then shares it with him. (Perhaps they should've cut out his temper tantrum "Rose where are you?") and the pacing still seems too fast like they're rushing things so people can get their train or something.

- Michael Ball doesn't sound like George to me. I don't know if it's that he's playing him too loud and gregarious or what. The way he sounds so emphatic LIFE goes on LOVE goes free - just sounds overly dramatic when it doesn't need to be.

[bobbievanhusen]

Jul 18, 2023 10:49:44 GMT oedipus said:

I caught this over the weekend and was deeply disappointed; judging from the chatter of those around me as we left (“awful ending” complained one female couple; “simply terrible” noted another pair), the handwriting was on the wall for this. I don’t think I’ve ever exited a West End show with so many baffled patrons.

It’s the plot. I get that ALW was trying his best to expand his range with this quasi-chamber-opera, and I appreciated the weirdness of that starkly-lit quartet in the second act, which is the sort of thing that opera does best. But, egads, even with some cleaning up, the plot is still, well, icky, even distasteful, particularly with the introduction of the young cousin.

For what it’s worth, I saw it with Vinny Coyle (sp?) as Alex, and he was great. Understudies/covers are *amazing*.

Aspects of Love is Icky, even distasteful, says the person with the username oedipus 🤦‍♂️

[BVM]

Am afraid I do tend to rather discard what people allegedly hear other people in the theatre say in the interval or after the show. Like, I go to the theatre all the time and I never eavesdrop sufficiently enough to get a true, balanced, accurate view of what other people think.

Also people only ever hear other people say things that agree wholeheartedly with their views (odd that) and the reporting of such vox pops always feels exaggerated.

Remember when Phantom re-opened there was someone who had been deeply critical of the orchestra cuts during Covid who claimed to have overheard SIX groups of people complaining about the reduced orchestration. One I could just about buy, two at a push, but inserting themselves into six random conversations supporting their view - no way!

[BVM]

Jul 19, 2023 2:35:17 GMT chernjam said:

The more I've listened to the revival A couple of random thoughts:

- the more the placement of Love Changes Everything doesn't work for me. Lyrically, musically, context it just doesn't make sense to me. While for this 30+ year fan its a bit awkward not having it at the start and knowing the history of the show how ALW didn't necessarily want that to open the show - I think it would work better as a close to Act 1 with Alex singing it. Hearing the (then) surprising news that George and Rose were married and expecting - I think dramatically it makes more sense there and would be a great Act 1 finale.

- I do like the expanded Chanson d'enfance (with the inclusion of the extended version that was used for "If Only" from Whistle Down the Wind) the first time I heard it, I didn't quite get why Rose was singing it twice, but I get it,she's having a mountain top moment, goes and gets Alex and then shares it with him. (Perhaps they should've cut out his temper tantrum "Rose where are you?") and the pacing still seems too fast like they're rushing things so people can get their train or something.

- Michael Ball doesn't sound like George to me. I don't know if it's that he's playing him too loud and gregarious or what. The way he sounds so emphatic LIFE goes on LOVE goes free - just sounds overly dramatic when it doesn't need to be.

Agree with all chernjam - in fact very few of the changes improve things. I'd have left the opening exactly as was and am sure the moving of LCE was just so Ball could still have it. And yes, his George is just not that George like. It's too camp and too nudge nudge wink wink.

I do also like the expanded Chanson d'Enface. Really gorgeous melody and one of the few improvements!

[oedipus]

Jul 19, 2023 12:40:57 GMT BVM said:

Am afraid I do tend to rather discard what people allegedly hear other people in the theatre say in the interval or after the show. Like, I go to the theatre all the time and I never eavesdrop sufficiently enough to get a true, balanced, accurate view of what other people think.

Also people only ever hear other people say things that agree wholeheartedly with their views (odd that) and the reporting of such vox pops always feels exaggerated.

Remember when Phantom re-opened there was someone who had been deeply critical of the orchestra cuts during Covid who claimed to have overheard SIX groups of people complaining about the reduced orchestration. One I could just about buy, two at a push, but inserting themselves into six random conversations supporting their view - no way!

Point taken; and I was ambivalent about including hearsay because--as you note--it's not exactly a random sample. I included the two above only because 1) I too was thrown by the ending and it was something of a relief that the couple in front of me also had a strong reaction and 2) there was quite a group of us outside afterwards trying to figure out the understudy situation (swing to Hugo, Hugo to Alex, we thought -- we had all missed the understudy notice, I guess). So I actually chatted at some length with a different couple, and we compared reactions. 

But I should stick to reporting my own observations, and not those of others, unless absolutely germane (immersive theater or such). 

[BVM]

Jul 19, 2023 13:10:38 GMT oedipus said:

Jul 19, 2023 12:40:57 GMT BVM said:

Am afraid I do tend to rather discard what people allegedly hear other people in the theatre say in the interval or after the show. Like, I go to the theatre all the time and I never eavesdrop sufficiently enough to get a true, balanced, accurate view of what other people think.

Also people only ever hear other people say things that agree wholeheartedly with their views (odd that) and the reporting of such vox pops always feels exaggerated.

Remember when Phantom re-opened there was someone who had been deeply critical of the orchestra cuts during Covid who claimed to have overheard SIX groups of people complaining about the reduced orchestration. One I could just about buy, two at a push, but inserting themselves into six random conversations supporting their view - no way!

Point taken; and I was ambivalent about including hearsay because--as you note--it's not exactly a random sample. I included the two above only because 1) I too was thrown by the ending and it was something of a relief that the couple in front of me also had a strong reaction and 2) there was quite a group of us outside afterwards trying to figure out the understudy situation (swing to Hugo, Hugo to Alex, we thought -- we had all missed the understudy notice, I guess). So I actually chatted at some length with a different couple, and we compared reactions. 

But I should stick to reporting my own observations, and not those of others, unless absolutely germane (immersive theater or such). 

Fair points :-) 
And I do similarly find the ending somewhat sudden and random. Bring back the big Love Changes Everything reprise I say!

[jay78uk]

Does anyone know if any leads off tonight? Thinking of going but only if an understudy or two on as seen the leads twice now

[BVM]

Jul 19, 2023 13:18:54 GMT jay78uk said:

Does anyone know if any leads off tonight? Thinking of going but only if an understudy or two on as seen the leads twice now

I don't unfortunately, but in a similar vein....

Does anyone know if Vinny Coyle has any more Alex dates?

As far as am aware the only person who has published dates on is Sophia Foroughi as Giulietta (and obvs DW Mondays).

[max]

I wonder if this West End revival will be assigned as the new authorised official version by RUG. I hope not. Sounds like it would have been better to leave the most challenging material in place. The 'soft' image of Michael Ball (however good he is) being the commercial draw made that more difficult. And yet, it still left the production pointing in two different directions even once toned down.

I guess amateur performance is this show's future, and there's a strange thing... in amateur work a lot of the reception is in the feat of getting the work on, and the near-professional standard of many performances. The shock factor might pass by relatively unnoticed, or do that other thing: confer a bit of 'edge' on the producing company for being daring.  Perhaps both versions should be made available for production.

I always clench a bit when I go 'back home' to a fairly conservative area of the country, but then get surprised by some people talking very casually about a relationship including someone who's transgender (and who may have been married decades). Funny that this show might be more accepted in the shires and villages for its areas of murky grey (that people know DO exist in relationships), whereas in the biggest city online commentators and others in the spotlight fell over each other to say they'd never seen anything like it, and it should never be seen/acknowledged. Perhaps they feel their 'big' centre-of-things status must reflect a 'state of the nation' audit of behaviour to be encouraged/admonished.  At the edges it can be more interesting and transgressive, in a rather quiet and casual way.

Disclaimer - I recognise some think it's just badly done; and bad writing of complex situations is the issue, not the complex situations per se.

[141920grm]

Jul 19, 2023 2:35:17 GMT chernjam said:

- Michael Ball doesn't sound like George to me. I don't know if it's that he's playing him too loud and gregarious or what. The way he sounds so emphatic LIFE goes on LOVE goes free - just sounds overly dramatic when it doesn't need to be.

go see Dave Willetts

[chernjam]

Jul 19, 2023 12:43:37 GMT BVM said:

Jul 19, 2023 2:35:17 GMT chernjam said:

The more I've listened to the revival A couple of random thoughts:

- the more the placement of Love Changes Everything doesn't work for me. Lyrically, musically, context it just doesn't make sense to me. While for this 30+ year fan its a bit awkward not having it at the start and knowing the history of the show how ALW didn't necessarily want that to open the show - I think it would work better as a close to Act 1 with Alex singing it. Hearing the (then) surprising news that George and Rose were married and expecting - I think dramatically it makes more sense there and would be a great Act 1 finale.

- I do like the expanded Chanson d'enfance (with the inclusion of the extended version that was used for "If Only" from Whistle Down the Wind) the first time I heard it, I didn't quite get why Rose was singing it twice, but I get it,she's having a mountain top moment, goes and gets Alex and then shares it with him. (Perhaps they should've cut out his temper tantrum "Rose where are you?") and the pacing still seems too fast like they're rushing things so people can get their train or something.

- Michael Ball doesn't sound like George to me. I don't know if it's that he's playing him too loud and gregarious or what. The way he sounds so emphatic LIFE goes on LOVE goes free - just sounds overly dramatic when it doesn't need to be.

Agree with all chernjam - in fact very few of the changes improve things. I'd have left the opening exactly as was and am sure the moving of LCE was just so Ball could still have it. And yes, his George is just not that George like. It's too camp and too nudge nudge wink wink.

I do also like the expanded Chanson d'Enface. Really gorgeous melody and one of the few improvements!

camp - nudge nudge wink wink... that's precisely it! I don't mean to pile on Ball but even his "Other Pleasures" lacked any nuance.  Its supposed to be this heartfelt, introspective reflection and its just belted - and the scene after when Alex and Rose arrive his reaction is over the top "DEAR BOY YOU MUST MEET JENNY."  Granted Kevin Colson's perfromance is cemented in my head - but the other three leads I've found enjoyable and refreshing to hear a new take.  

As for the "ick" factor - I wonder if ALW staged this truly as an opera and had it translated into Italian if people would receive it better.  A lot of operas have ridiculous story lines.  To me, musically this remains one of ALW's finest...  I had some of the lesser-known motifs from Aspects stuck in my head the last few days "have I changed...you're too polite, this face has had its day... is it General Alex yet?" - 

[richey]

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