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Post by forfivemoreminutes on Nov 4, 2024 15:44:52 GMT
Debbie's standby not alternate right? Which means it'll be like Wicked and they'll just go on for sickness and holiday (and before someone makes the 'it's basically an alternate situ at Wicked' gag dont...) When she was first announced she was stated as alternate, appearing in London only. This since changed to standby though and Iām not sure if it was always going to be that or if something changed - but that might be where the confusion is coming from! |
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Post by Paulw on Nov 4, 2024 16:02:32 GMT
What! Your telling me they donāt have that iconic opening walk to Suddenly I See? I donāt want to go now!!!!! š I havenāt seen it but I was doubting they would include Suddenly I See due to copyright. Wouldāve been nice but if they had it in. I know itās not in there but in all honesty how much would it have cost them to have got the rights for it to use as the opening number? I mean itās nowhere near as big a song as some that are used in smaller shows! |
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Post by theatrefan2007 on Nov 4, 2024 16:59:04 GMT
I havenāt seen it but I was doubting they would include Suddenly I See due to copyright. Wouldāve been nice but if they had it in. I know itās not in there but in all honesty how much would it have cost them to have got the rights for it to use as the opening number? I mean itās nowhere near as big a song as some that are used in smaller shows! Now that I think about it you probably are right. Compare to other shows it probably would not have costed that much to include it in the musical. |
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Post by bobbievanhusen on Nov 4, 2024 19:43:49 GMT
Unless you have seen the film over and over, there are no real iconic songs from the film that needed to be in the stage production. It has nothing like 'unchained melody' from Ghost, or 'Ive had the time of my life' from Dirty Dancing, nothing that is instantly relateable to the film.
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Post by theatrefan2007 on Nov 4, 2024 20:13:45 GMT
Unless you have seen the film over and over, there are no real iconic songs from the film that needed to be in the stage production. It has nothing like 'unchained melody' from Ghost, or 'Ive had the time of my life' from Dirty Dancing, nothing that is instantly relateable to the film. I agree with you. I donāt really associate Suddenly I See to the film so I donāt. It suits well with the opening but I donāt think it was needed for the musical. |
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Post by theatreghost on Nov 4, 2024 22:59:06 GMT
Iād really be keen to see this. Iām going to London over the summer so maybe might be able to get a ticket. Also is there going to be a press night for this? I think itās been in previews for quite a bit. Press night is December 1st and I think itās completely invite only |
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Post by A.Ham on Nov 5, 2024 11:56:30 GMT
Crikey - dynamic pricing has well and truly kicked in for this - thereās tickets for Ā£200, Ā£225 and Ā£250 the week before Christmas!
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Post by usbuzzer on Nov 5, 2024 12:10:17 GMT
Crikey - dynamic pricing has well and truly kicked in for this - thereās tickets for Ā£200, Ā£225 and Ā£250 the week before Christmas! I feel so so sorry for anybody who pays that price for this  |
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Post by A.Ham on Nov 5, 2024 12:34:47 GMT
Crikey - dynamic pricing has well and truly kicked in for this - thereās tickets for Ā£200, Ā£225 and Ā£250 the week before Christmas! I feel so so sorry for anybody who pays that price for this Yes, I enjoyed it (must post my thoughts) but not THAT much! |
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Post by nancycunard on Nov 5, 2024 13:58:28 GMT
Iād really be keen to see this. Iām going to London over the summer so maybe might be able to get a ticket. Also is there going to be a press night for this? I think itās been in previews for quite a bit. Press night is December 1st and I think itās completely invite only So thatās what, about five weeks of previews?! Fair enough to let their sold out month run uninterrupted before the reviews drop |
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Post by matthew90 on Nov 5, 2024 14:18:31 GMT
Crikey - dynamic pricing has well and truly kicked in for this - thereās tickets for Ā£200, Ā£225 and Ā£250 the week before Christmas! I feel so so sorry for anybody who pays that price for this What saddens me is a colleague today who doesn't go to musicals normally, tried this one because of the film appeal. Found it rather mid and the music all bit dull and enforced her belief musicals aren't for her as she thought this was the same kind of style for all musicals. I've tried to rectify - spent my morning sending her songs from lots of current musicals where the score is actually decent. How many other people get put off theatre for good by the big name shows like this failing to deliver... |
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Post by usbuzzer on Nov 5, 2024 14:21:00 GMT
This title seems to attract a lot of celebrities and performers, I saw a few stories of them taking pictures with the cast shared by official show insta. I wonder if it was before or after the show  So I don't expect the reviews to be favorable, but at the same time I'm not sure if this will hurt the sales that much looking at thow it sells at the moment. I learned my lesson after this show (and Fly more than you fall, to be honest) to not book in advance and let the reviews pour in before purchasing the tickets. |
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Post by usbuzzer on Nov 5, 2024 14:27:28 GMT
I feel so so sorry for anybody who pays that price for this What saddens me is a colleague today who doesn't go to musicals normally, tried this one because of the film appeal. Found it rather mid and the music all bit dull and enforced her belief musicals aren't for her as she thought this was the same kind of style for all musicals. I've tried to rectify - spent my morning sending her songs from lots of current musicals where the score is actually decent. How many other people get put off theatre for good by the big name shows like this failing to deliver... That's sad indeed. I'm becoming one-note here, but I really left the show feeling like by creating this and letting producers and creatives get away with this by paying the money for the tickets, we're actually moving backwards with how theatre progresses. This feels like 2005 show, dated-sounding, dated in the structure, offering nothing original or exciting to the audience. And I'm not against shows existing strictly for a fun night out. I feel like Mean Girls does it great. Even Moulin Rouge (which I'm not a fan of) is a decent show for what it tries to achieve. Even Back to the future (which I dislike) had something to offer with its effects and at least tried to push something forward. The Devil Wears Prada does absolutely nothing for the genre, it's a cash grab and a waste of talents involved, money invested and the theatre it's using. And what you're saying here - it might give the audiences the wrong impression of what musical theatre is and what it has to offer. And that's borderline offensive to the theatre and to us, theatre fans. |
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Post by viserys on Nov 5, 2024 15:02:32 GMT
And what you're saying here - it might give the audiences the wrong impression of what musical theatre is and what it has to offer. And that's borderline offensive to the theatre and to us, theatre fans. And what is that? Sondheim, who seems to keep being touted as the only "brainy" composer ever, no matter that hardly any of his shows ever had mainstream appeal and only became big successes in recent years when some superstar like Jake Gyllenhaal, Josh Groban or Daniel Radcliffe was attached? I am against "cash grabs" too and I've avoided several of the more recent movie-to-musical adaptations, some because I found the score forgettable and bland (Mean Girls), some because they interested me so little that I didn't even bother listening to the score (Doubtfire). But "original musicals" have recently been disappointments too - would your colleague have enjoyed something as awfully dated as "Why am I so single" or with a terrible plot like "Dear Evan Hansen"? Furthermore I know MT fans who've been around for a long time and still didn't like a very much loved and award-winning show like Hadestown. We all love different things. I'd rather eat my own toe than sit through another Jamie Lloyd adaptation, Sondheim's dated 70s shows or any of the noisy rubbish aimed at teenagers. Maybe I'll be bored silly by Prada, too, but I'll take that chance. So many of my generation came to musical theatre in the 80s thanks to shows like Cats, that were ground-breaking in its day but when I read online opinions these days it appears like Cats was an unmitigated universally loathed disaster and not a show that played several years in London and New York and all across the world. So whatever YOUR favourite style of musical and MT sound is, doesn't mean the same to the next person. What's sad to me is the assumption (mine) is that part of Prada's sell-out success is due to the fact that it's the ONLY big new show in London this winter because far too many long-runners that only cater to tourists these days are clogging up the theatres, while new shows are scrabbling around to find a theatre at all. Yes, yes, same old argument of "if it sells, it secures jobs" but I find that complete lack of creativity and freshness far worse than a mediocre movie adaptation. |
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Post by unseaworthy on Nov 5, 2024 16:01:11 GMT
Crikey - dynamic pricing has well and truly kicked in for this - thereās tickets for Ā£200, Ā£225 and Ā£250 the week before Christmas! Yet for most of January there are Ā£25 tickets available.... |
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Post by lolaluffneggle on Nov 5, 2024 16:09:17 GMT
Christmas is peak tourist season and Jan/Feb less people are inclined to go to the theatre, they are taking advantage of the seasons as does other industries. The Official London Theatre sale used to focus on those months specifically for a reason, although looks like theyāve changed their sale again for 2025.
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Post by shownut on Nov 5, 2024 16:26:21 GMT
Furthermore I know MT fans who've been around for a long time and still didn't like a very much loved and award-winning show like Hadestown.
So many of my generation came to musical theatre in the 80s thanks to shows like Cats, that were ground-breaking in its day but when I read online opinions these days it appears like Cats was an unmitigated universally loathed disaster and not a show that played several years in London and New York and all across the world.
What's sad to me is the assumption (mine) is that part of Prada's sell-out success is due to the fact that it's the ONLY big new show in London this winter because far too many long-runners that only cater to tourists these days are clogging up the theatres, while new shows are scrabbling around to find a theatre at all. Yes, yes, same old argument of "if it sells, it secures jobs" but I find that complete lack of creativity and freshness far worse than a mediocre movie adaptation. Great post and count me as another MT fan who has been around a Loooong time (and worked in the West End as a performer for a few years) who found nothing to like in HADESTOWN, but went nuts in my teenage years over CATS which was, as you say, ground-breaking. I am seeing PRADA tonight but agree that part of my excitement might be the dearth of quality musical theatre in the West End/London these days. The only shows the past year or so that left me on a high were the revivals of SUNSET BLVD and NEXT TO NORMAL. And yes, I saw LITTLE BIG THINGS, OPERATION MINCEMEAT, JUST FOR ONE DAY, SYLVIA, MANDELA, A FACE IN THE CROWD, etc....so finally a Big-Ass Musical with Broadway in its sights. Will I like it? Who knows. But I wish we had more to look forward to on this side of the pond. I guess HERCULES is the next big show to set out sights on? Feels full circle tonight as I originated this thread and couldn't wait to see it arrive here - now I just hope it will calm my rather jittery election day nerves.  |
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Post by james1969 on Nov 5, 2024 16:31:29 GMT
Crikey - dynamic pricing has well and truly kicked in for this - thereās tickets for Ā£200, Ā£225 and Ā£250 the week before Christmas! Glad I booked when I did. I thought then that Ā£87.50 for Stalls Row E on 23rd December was exorbitant |
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Post by bobbievanhusen on Nov 5, 2024 16:54:50 GMT
I booked my seats back when booking first opened and my row L stalls seats cost me Ā£69.50. The friend i went with has recently bought tickets for row M, and they cost him Ā£159 ! Ouch.
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Post by showgirl on Nov 5, 2024 18:48:43 GMT
I booked my seats back when booking first opened and my row L stalls seats cost me Ā£69.50. The friend i went with has recently bought tickets for row M, and they cost him Ā£159 ! Ouch. Crumbs, for Ā£159 I could have a whole weekend away: easily enough for 2 nights in a Premier Inn, 2 dinners and probably a (cheaper) theatre ticket & train fare, too! |
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Post by shownut on Nov 5, 2024 23:26:13 GMT
Was there tonight and left feeling very mixed.
This falls into the category of a show that I can't say was good, but I didn't hate it either. Unlike most recent London musicals, this never got boring and overall, I found it entertaining. It's not that I thought it was a bad show, it just wasn't very good either.
I did enjoy Vanessa William's performance very much and thought she nailed it. While many of her lines were lifted from the movie, she made them her own and looked and sounded great. I just wish she had better songs to work with. Amy Di Bartolomio as Emily was also quite good. The rest of the cast was fine but thats the best I can say.
Elton's score is not his best but even half-baked Elton beats a lot of what we get from other new composers these days (in my opinion). I would get the recording if they make one as a few of the songs would grow on me, particularly "Seen" which I thought was a standout in the Chicago production and works well here.
Design wise, didn't love it or hate it but wasn't wowed by the costume design. What time period were we supposed to be in? The style seemed very 90's but it wasn't clear.
Anyway, *** from me.
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Post by mkb on Nov 5, 2024 23:54:16 GMT
Ignore the naysayers, this is top-notch entertainment, and there's clearly some masterful skill required to make everything look so slick, (notwithstanding a technical stop). The sound design is superb, and the lighting perfect.
Vanessa Williams manages to make the boss somewhat more credible than the pantomime villain Streep provided, and rightly steals the night.
I loved the music and my feet were tapping along enthusiastically at all the high-energy, pop-synth numbers. People who complain the style is dated must be a right laugh on a night out. (Not.)
The response from the audience seemed to underscore that most were similarly having a ball.
My only criticism was that I booked Stalls row E centre -- a snip at Ā£67.50 in the presale -- knowing it was the first row with any rake, only to discover that rows A to D had been raised up negating the benefit. Row F is now the first, very slightly raised row. Still a cracking view for the price though.
Five stars.
(But I am evidently the only person who thoroughly enjoyed A Face In The Crowd, another piece of switch-off-brain escapism, so I clearly have tastes that misalign with most on here.)
Act 1: 19:35-20:40
Act 2: 21:03-21:30, technical stop, 21:41-22:11
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Post by bobbievanhusen on Nov 6, 2024 5:03:29 GMT
It must be set in the 90's. I haven't seen that much double denim on stage, since the last time I saw B*witched perform.
Which admittedly was earlier this year š
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Post by loathehydrangeas on Nov 6, 2024 11:04:21 GMT
Thought this was pretty dreadful, unfortunately. I hadnāt been to any of the recent movie musical shows and wouldnāt be bothered to see another after this one. Itās like a quote-along of the film with the audience champing at the bit to finish the sentences (āCERULEAN!ā), only now thereās really drab songs and choreography ā so much pointing! The āfinger on the pulseā number was particularly poor.
It's so important to get the fashion right for this show and they really flubbed it imo... Itās set in 2005 but the programme says costumes are inspired by 1994 to today. I spotted runway images from 2009 and beyond on the office mood boards, which would have been easy to get right! I was hoping (dreaming) for something more akin to Jean Paul Gaultier's Fashion Freak Show but the outfits here are all over the place. Most of them looked like cheap Balmain for H&M garb to me, although the Met Gala sequence was impressive, with Pamella Rolandās stunning red gown for Vanessa Williams.
Williams has so little to work with, parroting Merylās lines and given totally bland, forgettable songs. Iām so glad I saw her in City of Angels as this is a very lacklustre showcase for her talents. She was nice at stage door and had time for a word with everyone, but gosh I wish this was better!
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Post by usbuzzer on Nov 6, 2024 13:13:34 GMT
And what you're saying here - it might give the audiences the wrong impression of what musical theatre is and what it has to offer. And that's borderline offensive to the theatre and to us, theatre fans. And what is that? Sondheim, who seems to keep being touted as the only "brainy" composer ever, no matter that hardly any of his shows ever had mainstream appeal and only became big successes in recent years when some superstar like Jake Gyllenhaal, Josh Groban or Daniel Radcliffe was attached? I am against "cash grabs" too and I've avoided several of the more recent movie-to-musical adaptations, some because I found the score forgettable and bland (Mean Girls), some because they interested me so little that I didn't even bother listening to the score (Doubtfire). But "original musicals" have recently been disappointments too - would your colleague have enjoyed something as awfully dated as "Why am I so single" or with a terrible plot like "Dear Evan Hansen"? Furthermore I know MT fans who've been around for a long time and still didn't like a very much loved and award-winning show like Hadestown. We all love different things. I'd rather eat my own toe than sit through another Jamie Lloyd adaptation, Sondheim's dated 70s shows or any of the noisy rubbish aimed at teenagers. Maybe I'll be bored silly by Prada, too, but I'll take that chance. So many of my generation came to musical theatre in the 80s thanks to shows like Cats, that were ground-breaking in its day but when I read online opinions these days it appears like Cats was an unmitigated universally loathed disaster and not a show that played several years in London and New York and all across the world. So whatever YOUR favourite style of musical and MT sound is, doesn't mean the same to the next person. What's sad to me is the assumption (mine) is that part of Prada's sell-out success is due to the fact that it's the ONLY big new show in London this winter because far too many long-runners that only cater to tourists these days are clogging up the theatres, while new shows are scrabbling around to find a theatre at all. Yes, yes, same old argument of "if it sells, it secures jobs" but I find that complete lack of creativity and freshness far worse than a mediocre movie adaptation. Great post! I'm sorry if I came across as rude or overly negative, maybe it was a bad day for me to see the Devil. But this is the first time I feel so strongly against something in London theatres and that's why I started this conversation. We obviously have very different tastes as you bring up Mean Girls, WAISS, DEH and even Hadestown as examples of bad/disappointing theatre and I loved all of those. And of course theatre is very subjective and depending on the tastes, but I believe that even with that in mind, usually we're able to differentiate if something was bad or not in our taste. Very often it goes together, sometimes we can tell it apart. I've always believed that I'm able to do so and your post got me thinking! I'm so far from sayng that Sondheim is the only good thing that theatre has to offer. I'm not a huge fan, it takes a lot of effort and patience for me to appreciate and start liking his works, but from the very first time I see/listen to his show, I can without a doubt say that he has a lot to offer. Even if it's not always to my liking. And I wouldn't say any of his shows are in my personal top, but I value and appreciate everything that I know from him and I can easily understand why people love it. I can see why somebody might not like Mean Girls and have a hard time finding anything good about it, fine. For me it's good entertainment, it's funny, it has good music, great performances, a refreshed material (as compared to the movie), great choreo. I can see why people have problems with DEH plot or WAISS book. But it's hard for me to understand how somebody would say that DEH doesn't have anything to offer. Even compared to other musicals, all those years later (and especially true for when it came out), it had such a fresh approach to music (great music full of hits), interesting (although problematic) plot, a character to it. WAISS, even though flawed, has a very interesting form, it's fresh and funny, there's great music in it, it has "something" to say and has an idea how to say it. So again, hard to say that it's bad. Hadestown for me is a theatre win as it's both artistic achievement and a commercially-appealing show. My favorite examples of good shows that are not for me, but I can appreciate them, are Back to the future and The Lion King. They are so not in my lane, but each of those has something to offer for MT and for audiences. BTTF has special effects and sets, kinda funny, there are some known songs in it that you can bop to. TLK is extraordinary with costumes and sets, awesome music, great family appeal. I don't love neither, but I appreciate them. And then we have Prada. It's a very true-to-material adaptation, it has nothing extra to offer. It's not as funny, it doesn't have interesting staging, the costumes, choreography and sets are very mid, music is meh. There's nothing interesting in neither story, music, entertainment value, emotional value, production value (maybe apart from the MET Gala sequence due to fashion and how it's presented). So that's why I believe it's bad for MT and audiences. It offers nothing and gives people the impression that this is musical theatre nowadays. And theatre could be either or combined: great fun, moving emotions, exceptional production, awesome choreos, catchy tunes, amazingly talented cast. Devil achieves maybe something in the production value and for sure in the talent area. But that's not too much for such a high-budget and heavily-marketed and well-selling show. |
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