781 posts
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Post by latefortheoverture on Aug 18, 2019 17:49:54 GMT
I am so baffled as to why they don't put on a sellable show?
This theatre isn't massive and with a good name, and show, could be filled easily. Yes it would cost money, but surely it's better than running at a loss- and no doubt the lack of people rubs off onto the staff.
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Post by partytentdown on Aug 18, 2019 17:51:23 GMT
The only thing I can assume is that the theatre is basically happy to be a receiving house, and as long as they get the money from a rich producer they're happy, irrelevant of what the show is?
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Post by juicy_but_terribly_drab on Aug 18, 2019 17:59:31 GMT
I'd much rather we get lots of unique and lesser known shows than the same old just because it's more sellable. Obviously not good from a business stand point but most things that are are usually detrimental to the customer.
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Post by FrontroverPaul on Aug 18, 2019 18:16:40 GMT
They so need Titanic back at Charing Cross Theatre.
Please !!
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4,959 posts
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Post by Someone in a tree on Aug 22, 2019 7:31:03 GMT
This is a fascinating story but not when it's told by laChuisa. His book sucks any life out of it.
Great to see and hear they have spent decent amount of money on a band and set. Although the latter looks like my Nana's 1970's sideboard, odd as the show is set at the turn of the century.
Cast, direction, sound and lighting are all good but oh that book.
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543 posts
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Post by freckles on Aug 22, 2019 8:58:05 GMT
I saw it tonight and I quite liked it. The music was very enjoyable especially the ensemble pieces. It had a vaudeville feel to it at times. The singers were all brill and the harmonies were beautiful. The story is an odd one to make it into a musical but I liked that it told a real life story. I enjoyed the second half more which wasn't anymore about her act but more about her as a human being. The second part often felt more like a drama with songs than a musical. The staging with the traverse auditorium wasn't the best as the actors had to project their voices to two opposing directions but i felt I was sitting on the better side of the stage. I really don't feel that any of the directors lately have got to grips with the new traverse layout. |
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Post by xanady on Aug 28, 2019 22:31:14 GMT
Saw the matinee today and loved it.Some beautiful ensemble harmonies,great characterisation and lovely use of lighting.We got a very cheap deal on this and what a thrill to be told by the ushers that you have to cross the stage itself to get to your seats.Lovely programme with bags of background info on the factual story itself.
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Post by zinone on Sept 2, 2019 10:32:48 GMT
It's 'Pay What You Can' for Wednesday evenings for this. Well worth a watch.
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1,819 posts
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Post by stevej678 on Sept 9, 2019 20:47:59 GMT
Closing a week earlier than planned on 28th September.
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1,561 posts
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Post by showtoones on Sept 9, 2019 21:16:52 GMT
What show is the CXT doing after this?
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923 posts
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Post by Snciole on Sept 11, 2019 11:37:29 GMT
I think the marketing for Charing Cross Theatre is just very poor. It is not a venue whose output I check (unlike Fairfield Halls, New Wimbledon Theatre or even the Nash). To go from a pub theatre studio to a large space is a great opportunity but not without the support of the venue.
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Post by SamB (was badoerfan) on Sept 11, 2019 11:52:22 GMT
There's a line in the first song of the second act that sums up this musical excellently:
{Spoiler - click to view}
who'd've thought going over the falls would be tedious, monotonous, repetitive and, worst of all, not fun
I honestly thought this was terrible, and it's the closest I've ever come to leaving at the interval. Wandering songs with no melody and a dreadful book combine for a very boring two hours. It's not helped by the performances as they're directed, which don't involve the audience at all (probably exacerbated by the room being less than half full), and poor staging with choreography that is alternately unimaginative and baffling ("why are they dancing like that?" "why are they holding those object at her?"). The show gives us no reason to like or even care about what happens to Anna, who is played as constantly shrill and objectionable. The best scenes are the few that don't involve her (and this isn't a criticism of Trudi Camilleri - having listened to a couple of songs on the US Cast Recording, it seems it's pretty much how it's written).
I've now seen two of the three productions at Charing Cross with the new traverse layout, and I really don't think it works - either that or the directors have struggled to work with the space. This show had numerous incidences of dramatic scenes (including parts of the finale) that were mostly played to one side; it also used the 'ends' of the stage, but with the stage being narrow, this just doesn't work - anyone on that edge of the auditorium just can't see.
The layout also displays major issues in the sound design. When an actor is facing you (particularly if you're quite close) you can hear their singing voice coming both from them and from the speakers. When they then turn around and face the other side, you totally lose the sound coming from their mouth and just have the sound coming from the speakers, which are above you - it's a strange sensation, and results in volume variations and sound shifts throughout.
There were brief moments when I could see what the piece was going for, and I believe a better production might show off those elements more effectively. But as it stands, it's a one-star for me.
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