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Post by jek on Mar 1, 2024 13:50:05 GMT
Thanks max. One of my great regrets is that I never recorded my maternal grandad who died aged 100 in 1992 and was a lifelong Eastender. He had spent most of his adult life - after years in the Merchant Navy - as a street trader in Club Row - initally dealing in caged birds (his Bethnal Green flat was full of them) and once that became illegal in TV's which he reconditioned for sale (causing many fires in his flat in the process). He had an almost Edwardian turn of phrase saying, for example, 'presently' rather than 'later'. I spent a lot of time caring for him in his dying days and so had ample opportunity to whip out a tape recorder but never did. I know precisely what you mean about Wesker and Kops (so sad to read of the latter's death last week). Another good example of that accent was the late, lamented historian of the East End Bill Fishman who was wonderfully encouraging to me when I was a politics PhD student. I was always more of a smoked salmon beigel fan than salt beef but I still miss Blooms whenever I am in Whitechapel! I will definitely try to see this production if it gets a new life. |
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Post by zahidf on Mar 2, 2024 20:07:13 GMT
Liked this a lot today. Good songs and interesting subject matter. Felt very slick, a transfer of some sorts must be in the cards, even if its just in the bigger southwark elephant and castle venue
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Post by Mark on Mar 7, 2024 14:06:34 GMT
I enjoyed this a lot. I found the music overall to be very good (a rarity in a lot of new musicals sadly) and it felt cohesive even though there were several different styles. I really liked the story and agree with Steve's comparison to Titanic, you have some interesting characters here and all their stories are woven in very well into what happened on Cable Street. It also has the opposite of what many musicals struggle with, act two is unquestionably stronger with some really great numbers - it is the first act which needs some tweaks. I found some elements similar to shows like In the Heights and Paradise Square, in the essence of it is a story of the community.
I actually thought the show felt too "big" for Southwark Playhouse. This is the sort of show that with some work, and a visionary director, could look absolutely stunning in a bigger house, and could justify a cast of 20+ actors. I'd be curious how it might have looked had somewhere like the Almeida or Old Vic taken it on. I hope this show sees a future life.
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Post by capybara on Mar 7, 2024 22:25:19 GMT
There’s the genesis of a really good production here but it will need some fine-tuning before it’s inevitable transfer. Telling the story of 1936’s Battle of Cable Street, where Jews, Irish dockers, communists and trade unionists were among those to stand up to Oswald Mosley’s black-shirted fascists, Tim Gilvin and Alex Kanefsky’s new musical only really scratches the surface.
There are some intriguing stories to be told among the many fictional characters (expertly multi-roled by a talented cast) but, for much of act one, the piece is too scattered and the audience never really feels invested.
The score is pretty decent, with a variety of styles on display, but would benefit from some tighter lyrics. It is an energetic piece but does not always flow all that well.
That said, it is a promising start to Cable Street’s life. The fact it sold out its entire run and is now operating a returns policy speaks volumes about the interest in it. It is a fascinating show but needs refining on how to bring together so many stories centred around such a historic event.
The second act demonstrates what a force this show could become, although the final sequence doesn’t quite land. Nor does the framing of it being told through the eyes of a modern day walking tour. Lose that, there’s no need for it at all.
Three stars for me.
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Post by PineappleForYou on Mar 8, 2024 0:54:32 GMT
Saw this tonight and I agree with previous posters. There is definitely a beginning of a good show here but it needs some rewrites which I'm sure it will get.
The only bit I actively disliked was the climax on the roof which was confused. Spoilers but, three potential ways to kill one character is a bit overkill (pardon the pun) if you ask me! None of which happen as well. It also was badly paced which destroyed a lot of tension for me.
I would like to see more of the love story going forward as I wanted more earlier. Seemed the cutaways to modern day were a crutch to get some comic relief in there but I think some lighter moments could be achieved if the main characters actually spent more time together. They did have chemistry though so that was fine.
I do wonder if "man who becomes a fascist's" story might resonate harder if he and the lead already had a passing relationship at the start of the show. Would just make his transition to the alt right even more tragic especially if we're redeeming him at the end anyway. Just a thought.
Anyway, really solid cast and an energetic production. Some songs need another go but a couple of stickers. This will be back and no doubt will it be eyeing up a Mincemeat trajectory if those ticket sales are anything to go by.
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2,476 posts
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Post by zahidf on Mar 22, 2024 18:50:44 GMT
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Post by capybara on Apr 8, 2024 10:05:24 GMT
Back at Southwark but this time in the Elephant venue, 6 Sep-10 Oct.
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Post by osdtdg on Apr 8, 2024 10:45:14 GMT
Back at Southwark but this time in the Elephant venue, 6 Sep-10 Oct. and judging by when Prices change, press night is set for 9th September |
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Post by max on Apr 8, 2024 11:41:22 GMT
Back at Southwark but this time in the Elephant venue, 6 Sep-10 Oct. This feels like the right step. If there's even more life in it, I can also see it doing well at the Arcola Theatre too, where it would be only a minute away from Ridley Road market - another place where Mosely was faced down. The arcola is in the E8 postcode; East if not quite East End. The Arcola has a track record for musicals with a historical/political slant, and featuring that axis where Jewish activism met Socialist or Communist action. |
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Post by westendgirl on Sept 7, 2024 10:27:13 GMT
I saw the first performance at Southwark Playhouse Elephant last night and am surprised it got such glowing reviews from critics for the last run (e.g. 5 stars from Whatsonstage).
I would put it on the same level as something like Glory Ride at the Charing Cross Theatre as it’s an interesting history lesson but, for me, not a great musical. The rap parts made me cringe in particular every time they came up, and the BUF song is like a poundland version of Operation Mincemeat’s Das Ubermensch… I also felt a bit on edge watching one of the leads as their vocals sounded so strained/forced. I know last night was the first preview, but this person was part of the previous cast as well.
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Post by rayc on Sept 7, 2024 10:49:48 GMT
Having seen it at Southwark Playhouse during its original run, I too was surprised by some of the glowing reviews. And musically, forgettable. But certainly an interesting reflection of the event.
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Post by greatauntedna on Sept 7, 2024 22:03:34 GMT
I saw it this evening and feel similar. It’s trying too hard, it’s relentless! The rapping and the rapper sap the life out of it when they’re on stage.
Some good songs and standout performances.
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dd
Auditioning
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Post by dd on Sept 7, 2024 23:06:47 GMT
Saw this tonight and was a little disappointed. It's not a terrible show by any means but the songs are forgettable and the rooftop scene was poor. Agree with the comment above about the Poundland Das Ubermensch moment. Also a bad attempt at an Irish accent from the person who plays Maired
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Post by fclou on Sept 7, 2024 23:07:26 GMT
I was there tonight too - my friend loved it - we hd to come back and see it again because she loved it so much first tie round.
I thought the rap bits were the weakest bit this time and last time. Some of them are great - but it did feel a little preview-ish - they hadn't settled in and gelled yet even though they did it all together earlier in the year.
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Post by fclou on Sept 7, 2024 23:08:51 GMT
Saw this tonight and was a little disappointed. It's not a terrible show by any means but the songs are forgettable and the rooftop scene was poor. Agree with the comment above about the Poundland Das Ubermensch moment. Also a bad attempt at an Irish accent from the person who plays Maired I'm sure she stayed Irish the whole way through last time, this time she seemed to give up even trying after a bit |
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Post by westendgirl on Sept 7, 2024 23:14:01 GMT
Saw this tonight and was a little disappointed. It's not a terrible show by any means but the songs are forgettable and the rooftop scene was poor. Agree with the comment above about the Poundland Das Ubermensch moment. Also a bad attempt at an Irish accent from the person who plays Maired I didn’t even think she was attempting an Irish accent! At first I thought maybe she was the only member of her family without an Irish accent because she was the youngest sibling and had grown up in the East End, but in act 2 her mum refers to her as ‘my eldest daughter’… |
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Post by matty on Sept 13, 2024 21:35:52 GMT
Saw this tonight and agree with others that it's an interesting history piece, but didn't make for a great musical.
Couldn't get on board with the rapping, some of it worked, but for the most part, it didn't. The BUF song was just embarrassing! It sounded like there was some attempt at an accent from the actress playing Maired, but it definitely wasn't Irish. That being said, there were a few other indistinguishable accents floating round at times.
I think the topic is an interesting one and there is a good show buried in here, but it's not there yet.
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1,345 posts
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Post by tmesis on Sept 15, 2024 5:58:03 GMT
No musical should rhyme ‘existential’ with ‘pencil.’
Just saying…
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Post by eoghan31 on Sept 15, 2024 9:47:52 GMT
Left the theatre feeling it would make for a better play minus the music which added very little to it especially the overuse of rap. It did try too hard throughout to involve you but the staging felt they were throwing too much at it so ultimately disappointed.
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Post by khiar on Sept 16, 2024 9:33:38 GMT
No musical should rhyme ‘existential’ with ‘pencil.’ Just saying… Am I misremembering or did she also rhyme it with 'Engels'? Both not great! It's a story worth telling (like many I booked not knowing anything about the show other than the historical event) but it did not connect with me the way I wanted it to. There was a lot to like, it had some great moments, but too much that felt clunky or derivative - the rapping and the fascists' songs are just begging for comparisons to Hamilton, Mincemeat, and Cabaret, and Cable Street sadly just does not stand up well in that comparison. It wants a bigger scale to make the story truly feel like it spans tens of thousands of people rather than just the small group we see. I would like to see it grow but I think it needs work before then - anyone know if there were many changes between the previous run and this one? |
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Post by darreno on Sept 28, 2024 18:20:35 GMT
Had been meaning to see this but it always fell behind the priority list until today.
I enjoyed it, like most have said, this could be an excellent play with a lot of chopping about. And that's coming from someone who would rather think about musical theatre than breathe!
Sha Dessi's wonderful voice does a lot of the heavy lifting for the first half. She is just fantastic any time she sings. Jez Unwin is utterly perfect for each part he plays. Instantly adds to the show by his presence alone, not to mention the voice that he had hidden until after the interval where he absolutely shines. The one to watch that I'll take from the show is Ethan Pascal Peters, who gives me that wonderful musical theatre energy that helps bring us, the audience, right into the performance. He is wonderful.
The songs all work, although, as mentioned above, possibly feel like less perfect versions of songs we already know from other shows. Not at all a case of imitation or copy, but just not quite as well put together as the others.
The story is the only weak part for me. That's not to say the actual historical story, but the moral angle. I always feel that when you paint bad guys as cartoon bad guys and good guys as shiny, shiny good guys, you lose the nuance that makes things believable. Only Ron's story has some of that, but feels a little rushed.
All in all,I certainly enjoyed it, and would catch it again, but possibly just because Dessi, Unwin and Peters are SO talented.
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Post by joem on Oct 2, 2024 22:34:23 GMT
An interesting episode and period of history which is not really done justice by this musical, perhaps a play would serve it better. The music is ok but unremarkable and the lyrics are sometimes on the tortured side rhyme-wise with a rather prosaic style which doesn't help the performers - the performances on the whole outshine the production and the musical.
Note to audience - this is a musical not panto, you ARE allowed to applaud songs even when the characters are portraying fascists the same as when they are communists or anything else. You know, like we applaud Judas or Pontius Pilate in JCS?
Note to self - no pacharan? Never mind, I'll have Licor 43.
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Post by n1david on Oct 8, 2024 22:57:54 GMT
Bit of a frustrating night tonight. Fire alarm went off so evacuated nearly at the end of Act One. Eventually back in and they announced they were going to do the last number of Act One again, then a very short interval so that they could get through it by the venue curfew at 10.30. The shorter interval didn't quite work, the metaphorical curtain came down about 10.28 and we were harried out of the building.
As for the show, I enjoyed it but thought that it lacks focus, and the ensemble playing multiple roles served to distract. The second act, in particular, lost dramatic drive for me after the main protest and felt like a desire to tell a 'true story' rather than a dramatic story. Glad I saw the show though. Understudy on for Maired tonight who I thought acted terrifically but not as strong vocally.
And I know that I sometimes feel that my modus operandi on this board is to moan about venues, but this is the second time I've been to Southwark Elephant, and twice I've had the same seat A4 - first seat the other side of one of the aisles. And twice the director has not thought about playing to three sides, and the staging/blocking has been bad. There's a dramatic scene towards the end of Act 2 in this, played on a rooftop, and I had an actor standing on a chair directly in front of me during that whole scene, so I saw none of it (there were other actors clustered around the chair so no opportunity to lean). I know A4 isn't a premium seat, but equally it isn't a cheap one, and given that the main block is inaccessible to those of us with season tickets, that's twice that I've had a less good experience than people in cheaper seats e.g. up in the balcony. I don't think the theatre has properly worked out how to advise directors to stage stuff. I know the Donmar doesn't always get it right, but I've often sat in a similar seat there and had no issues.
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