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Post by danb on Jul 26, 2023 12:18:08 GMT
Reports of “how terrible” he is are exaggerated to the point of losing impact and credibility and it makes me doubt reliability and integrity of said posters opinions. Just sounds like the proverbial grinding axe. How so? Christian is a massive sing, and when they rolled JB out to great fanfare I assumed they’d gone American because they couldn’t find what they needed here. The fact that Muscato has come in and proven them otherwise (when he was here all along, next to Houchen and Jaden and all our other great voices) just goes to show they should have some faith in homegrown talent. Zoe Birkett was a stunning Satine, and there all along. I personally have nothing to gain or lose from stating ‘my truth’. Just, y’know, having sn opinion and stuff. Oh I was mainly talking about Aspects. But appreciate I then drifted to MR. But the point stands. It’s because he isn’t terrible. He’s unremarkable or mediocre at worst. The hyperbole isn’t objective. Muscato is better. Doesn’t make Bogyo terrible. FWIW I agree with you that MR should have picked home grown talent. [/quote] Agreed. It took long enough to get here and when it did it was the two leads (and appallingly unfocussed direction) that let if down. |
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Post by mrbarnaby on Jul 26, 2023 14:05:44 GMT
He was terrible in Moulin, and he’s terrible in this. Facts are facts. Lies are lies when it comes to a performer's commitment to their job. Stop. Reputational damage isn't funny. I don’t imagine someone commenting on a message board is going to affect his career. Stop. Let’s not get carried away. Stop. |
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Post by 141920grm on Jul 26, 2023 14:25:06 GMT
Lies are lies when it comes to a performer's commitment to their job. Stop. Reputational damage isn't funny. I don’t imagine someone commenting on a message board is going to affect his career. Stop. Let’s not get carried away. Stop. This fun back-and-forth could've been totally avoided if an opinion ('terrible') hadn't been presented as a 'fact' though... |
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Post by mrbarnaby on Jul 26, 2023 14:31:25 GMT
Apologies for saying ‘fact’….of course it is my opinion let only.
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Post by BurlyBeaR on Jul 26, 2023 17:49:03 GMT
Aaaand with that, let’s move on please.
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Post by toomasj on Jul 26, 2023 17:52:23 GMT
Just to lighten the mood, bad/good as this may be, for those who saw it has to be better than the David Essex tour. I felt genuinely depressed - and not because of the story.
Poor (then relatively young) Matthew Rawle.
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Post by andypandy on Jul 26, 2023 18:08:30 GMT
He’s missed 3 (three). 2 of which were scheduled. He doesn’t “miss a lot of shows.” You seem persistently rude about Bogyo which IMHO is unfair and unnecessary. He was terrible in Moulin, and he’s terrible in this. Facts are facts. THIS. He was AWFUL! How on earth would any producer choose him out of all the Mountview Guildford Arts Ed etc boys out there? Ego because he went to Rada? I don’t get it. I’m sure he’s a really nice guy but speaking professionally he’s goofy uncomfortable to watch on stage, pulls odd faces when he sings and not the best singer OR actor. You need eye candy and real swagger for the lead role of Alex. Without it the show is dead - and it was. This is a professional opinion and not about the guy himself, I don’t know him. Sorry |
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Post by chernjam on Jul 26, 2023 19:00:58 GMT
Just to lighten the mood, bad/good as this may be, for those who saw it has to be better than the David Essex tour. I felt genuinely depressed - and not because of the story. Poor (then relatively young) Matthew Rawle. The David Essex tour wasn't the one that Gale Edwards directed, was it? If I remember correctly hers was similar to the Canadian/US Tour which opened a year or two after it closed on Broadway. Digging up old articles that I had collected at the time, it was amazing how much better received the US Tour (and Edwards) was received by critics, with some going to print saying how their entire impression of the show had flip flopped with these which had pretty much the original score in tact with minor edits and the set design being sheer curtains/lighting and a few props. |
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Post by BurlyBeaR on Jul 26, 2023 19:34:34 GMT
Please read our rules before reporting posts. Members are allowed to dislike and comment on professional performances. If you don’t like this I’m afraid you are in the wrong place. If you would like to block a member, details are here theatreboard.co.uk/post/256470/threadPlease don’t try to moderate the forum. We have people to do that. Thank you. |
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Post by jarnew on Jul 26, 2023 19:40:37 GMT
Reading all the negativity here, I just quickly wanted to say I really enjoyed Jamie's Alex (and would love to see him again in something else once this production closes). I thought he was such a perfect fit for this role, his acting and mannerisms really won me over. I also saw Vinny Coyle's Alex the night he made his debut, and while he might be a bit better when it comes to technicality, I feel like Jamie really puts on a very complete and living performance of Alex that I'd love to see again.
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Post by bobbievanhusen on Jul 26, 2023 19:50:25 GMT
The Gale Edward production came into the West End in 1993 just a year after the original closed. It had a fantastic cast led by Katherine Evans, who was one of the best Rose's ive seen. I don't know why it stuck in my mind, but they had a set piece of the front engine of the train at the station, and then it turned around to become the carriage in which they sing Seeing Is Believing.
The Toronto production was a different prodiction to the Gale Edwards', I believe. The Toronto/US Tour set was alot of billowing fabrics if i'm remembering that right and on a much smaller scale that other versions before it.
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Post by princeton on Jul 27, 2023 1:02:28 GMT
The Gale Edwards' production originated in Australia in 1992 where it was well received and so it was decided that it should be used for the UK tour, which came into the Prince of Wales. Kevin Colson reprised his role of George in the Australian incarnation (and also played it for a final time in a short uk tour after the west end revival).
The Canada production, which began at the Citadel Theatre in Edmonton in 1991, was directed by Robin Phillips. It did an extended run in Toronto before touring the US.
The original Trevor Nunn production actually made a brief reappearance in 1997 when it played Dublin and Cork - with Rebecca Storm as Rose and John Barrowman as Alex.
The David Essex/Matt Rawle version, in 2007, was directed by Nikolai Foster.
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Post by Someone in a tree on Jul 27, 2023 6:59:35 GMT
The Gale Edward production came into the West End in 1993 just a year after the original closed. It had a fantastic cast led by Katherine Evans, who was one of the best Rose's ive seen. I don't know why it stuck in my mind, but they had a set piece of the front engine of the train at the station, and then it turned around to become the carriage in which they sing Seeing Is Believing. The Toronto production was a different prodiction to the Gale Edwards', I believe. The Toronto/US Tour set was alot of billowing fabrics if i'm remembering that right and on a much smaller scale that other versions before it. In the GE tour I remember so vividly the train appearing, travelling forward through mist and parting curtains before if finally span round to reveal the inside of the carriage - pure theatrical magic. The set was lots of muslin curtains giving endless dissolves into the next scene. The stage was peppered with chorus members in picture perfect poses of embracing, playing boule, promenading in Venice etc Such a classy production. I'm glad I saw it twice. |
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Post by barrowside on Jul 27, 2023 9:19:09 GMT
The Gale Edwards' production originated in Australia in 1992 where it was well received and so it was decided that it should be used for the UK tour, which came into the Prince of Wales. Kevin Colson reprised his role of George in the Australian incarnation (and also played it for a final time in a short uk tour after the west end revival). The Canada production, which began at the Citadel Theatre in Edmonton in 1991, was directed by Robin Phillips. It did an extended run in Toronto before touring the US. The original Trevor Nunn production actually made a brief reappearance in 1997 when it played Dublin and Cork - with Rebecca Storm as Rose and John Barrowman as Alex. The David Essex/Matt Rawle version, in 2007, was directed by Nikolai Foster. No, the production in 1997 that played Dublin and Cork with Rebecca Storm and John Barrowman wasn't the original Trevor Nunn one. It was a local Irish production directed by Michael Scott and designed by Bronwen Casson. |
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Post by princeton on Jul 27, 2023 11:05:46 GMT
No, the production in 1997 that played Dublin and Cork with Rebecca Storm and John Barrowman wasn't the original Trevor Nunn one. It was a local Irish production directed by Michael Scott and designed by Bronwen Casson. Sorry for the mistake and thanks for the correction. I had a very vague recollection of being told at the time that it was going to be the Nunn version. As I'd worked on the Edwards' first tour/WE - I thought it surprising because I was under the assumption that it would never be seen again, but thought that maybe someone in Ireland had very deep pockets (or Trevor was doing it to save face - his version having effectively been dumped). I guess I should have checked before posting - though it's not that easy to find info about productions in the 1990s. |
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Post by anthony on Jul 27, 2023 18:12:40 GMT
Please read our rules before reporting posts. Members are allowed to dislike and comment on professional performances. If you don’t like this I’m afraid you are in the wrong place. If you would like to block a member, details are here theatreboard.co.uk/post/256470/threadPlease don’t try to moderate the forum. We have people to do that. Thank you. I haven't reported any posts, but I do think some of the comments have crossed a line here - for example, saying he's too ugly to play the role? I really don't get the hate for him, if I'm honest. I actually found his performance decent. Awkward? Sure, but that seems, to me at least, to fit the character fairly well. |
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Post by BurlyBeaR on Jul 27, 2023 18:21:40 GMT
Please read our rules before reporting posts. Members are allowed to dislike and comment on professional performances. If you don’t like this I’m afraid you are in the wrong place. If you would like to block a member, details are here theatreboard.co.uk/post/256470/threadPlease don’t try to moderate the forum. We have people to do that. Thank you. I haven't reported any posts, but I do think some of the comments have crossed a line here - for example, saying he's too ugly to play the role? I really don't get the hate for him, if I'm honest. I actually found his performance decent. Awkward? Sure, but that seems, to me at least, to fit the character fairly well. I have not seen a post where this is stated. Help me out and report it please. |
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Post by barrowside on Jul 27, 2023 18:37:27 GMT
No, the production in 1997 that played Dublin and Cork with Rebecca Storm and John Barrowman wasn't the original Trevor Nunn one. It was a local Irish production directed by Michael Scott and designed by Bronwen Casson. Sorry for the mistake and thanks for the correction. I had a very vague recollection of being told at the time that it was going to be the Nunn version. As I'd worked on the Edwards' first tour/WE - I thought it surprising because I was under the assumption that it would never be seen again, but thought that maybe someone in Ireland had very deep pockets (or Trevor was doing it to save face - his version having effectively been dumped). I guess I should have checked before posting - though it's not that easy to find info about productions in the 1990s. No problem. I didn't get to see it at the time but I don't think it made much of a splash. In those days before Dublin was a stop on the major tours sometimes a London production would be replicated for a local producer though mainly for plays. Only the biggest shows, in the original productions such as Les Mis, Miss Saigon, Phantom and the Palladium Joseph etc. came as The Point (a concert venue in an old railway shed) had to be temporarily converted each time. I think the Trevor Nunn production of Aspects of Love was physically impossible to move or tour due to Maria Bjornson's huge design. A big part of the design at the Prince of Wales was a huge sweeping proscenium with a brick and stone effect |
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Post by zephyrus on Jul 28, 2023 11:33:32 GMT
Finally saw Aspects this week, and here are some of my thoughts...
I'm still not a fan of the Bogyo - I thought he was weak, and (as in Moulin Rouge) just looked ill-at-ease and awkward. He has no real presence, and he doesn't have an amazing voice. Michael Ball seemed to be channeling Rex Harrison the night I went - it felt like he didn't have much interest in singing anything apart from his big numbers, and even then, he wasn't really going for it. Laura PP was the best thing in it, for me; I liked the idea of Danielle de Niese on paper but, in practice, it felt like her voice wasn't the right one to really sell her main songs.
I also thought that the design was quite ugly, and there were a few strange directorial choices - eg, Hand Me the Wine and the Dice is (should be?) a big number, and it just felt weird that there were a lot of people on stage, performing in a small-ish space at the front of the stage.
Still, I'm glad I saw it.
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Post by colelarson on Jul 28, 2023 23:38:03 GMT
Saw this Friday evening and glad I saw it thanks to a TodayTix deal!
The plot is a bit icky! The age-inappropriate incest which I read they have upped the age for in this production still feels a bit queasy!
Really enjoyed Opera star Danielle de Niese but she is underused which is a shame. All the cast have nice voices the sung through score is pleasant enough.
Michael Ball pulls out all the stops with the reworking of 'Love Changes Everything’ and received a rapturous applause in the auditorium.
Wasn't keen on the sliding screen featuring video projections when the painted backdrops were really pretty.
The merchandise is half price which is a clever idea to move stock in the final weeks!
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Post by mrbarnaby on Jul 29, 2023 12:55:22 GMT
What on earth is being sold as merch?
Sick bags?
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Post by danb on Jul 29, 2023 13:08:00 GMT
Branded crutches?
Wine? Dice?
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Post by BVM on Jul 29, 2023 14:36:13 GMT
What on earth is being sold as merch? Sick bags? Oh. Have a day off 🥱🙄…… |
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Post by BurlyBeaR on Jul 29, 2023 18:35:56 GMT
What on earth is being sold as merch? Sick bags? Did you go and see it then in the end Mr B? You said you might when the prices plummeted. If so, aside from Jamie Bogyo which we all know your disdain for, what was it you disliked so much? And if you haven’t seen it… erm 😐 |
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Post by mrbarnaby on Jul 29, 2023 20:27:40 GMT
What on earth is being sold as merch? Sick bags? Did you go and see it then in the end Mr B? You said you might when the prices plummeted. If so, aside from Jamie Bogyo which we all know your disdain for, what was it you disliked so much? And if you haven’t seen it… erm 😐 Oh yes I did see it. Jamie Bogyo was- as I fully expected- dreadful. No sex appeal. No acting ability. Michael Ball was fine- but what offended me most was the staging. Horrible cheap looking wrinkled scenery that didn’t create any atmosphere at all, matched with projections that looked like google images of ‘Venice’ ‘France’ etc. Why were the biggest numbers confined to the smallest spaces? Why did the backdrop lift to show the orchestra ? And at the most inappropriate moment. I hated everything about it. Clunky and loud scene changes Even poor Laura P P- she made Rose even more unlikeable than I’ve ever seen her portrayed. An entirely depressing experience. I felt for every cast member having to perform this dross. Oh and yes- the whole Jenny thing is still ICK. |
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