|
|
Post by Cafe SalMONAlla on Feb 28, 2016 5:06:52 GMT -5
I was inviting you to make a guess at what an alw wears, after you suggested a jrb wears a bowler hat. (Despite you being wrong.)
|
|
|
|
Post by MisterM on Feb 28, 2016 11:25:10 GMT -5
isnt it just a typo?
|
|
|
|
Post by lorelai on Feb 28, 2016 14:52:48 GMT -5
Actually, the London production of LND (Love Never Dies, the sequel to Phantom of the Opera) was NOTHING like the filmed one--that's the show I went to London over the weekend to see. The soundtrack, which in typical ALW fashion tries to convey as much of the story as possible, reveals more of the original plot, though there were some lyric changes made from the recording to the version I saw, because the recording was released pre-previews. The biggest changes are by far the lack of a Hammerstine angle in theLondon version, and no one uses a child as blackmail in a weird do over of Phantom (he seems to feel that the child is to blame for things not going the way he wants and treats him with politely veiled contemptup until the reveal). Oh, and the Giry/Meg thing makes sense and, as opposed to fainting upon reuniting, Christine hugs and then slaps her former mentor before glaring at him from behind a piano, just to give an example of how much character growth was scrapped.
The critics didn't like the London version though, so when they went ahead with the plan to do it in Australia, the director insisted on making changes, and Lloyd-Webber complied with writing some new melodies, though it seems he wasn't aware until late in the game how much character regressing would occur in order to ensure this production ran longer (there aren't a lot of new melodies when you compare the two, just rehashing of Phantom ones and Hart's new lyrics that sound like Phantom and don't meld at all well with Slater's), plus contracts were already signed and what not. So it's more like he got the ball dropped on him and roled with it; there's a reason why he seemed perfectly happy to reference the soundtrack in a live town hall Q and A last month but said he had no plans to bring the show to other countries and never mentioned the filmed production (there was a nice line about the casts doing very well with their material though).
Anyway, I think there are some very nice songs in Aspects of Love, but I've never seen it. Would love to change that some day.
And the fact that Gentleman's Guide is self-aware takes quite a weight off my mind.
|
|
|
|
Post by Cafe SalMONAlla on Feb 29, 2016 9:27:57 GMT -5
Hurrah to the London production for, if nothing else, Christine not fainting. Reading the London synopsis, it sounds like she was invited to come perform at Coney to begin with, which does seem a bit of a strange fit for her career (unlike the Hammerstein thing), but I guess she needed the money. To add in another criticism of the filmed 2012 production - though this isn't the show's fault - most of the set changes were edited out, which really bugged me. I couldn't get a sense of what the stage looked like overall at any given time. Eh? My turn for a "what" now. Isn't what a typo? |
|
|
|
Post by lorelai on Feb 29, 2016 17:51:27 GMT -5
There are a few more things like the not-fainting that show how much Cristine's grown, that were, sadly, only in the London version. The song "Dear Old Friend" is probably the most prominent example, because its lyrics are night and day different from 2012's song.
The thing that I guess isn't made clear in the synopsis is that she hasn't performed in ten years. So the money is very much needed, and it looks like that's what lured her to the stage after such a long absence, but there's also the chance to get to sing again after devoting all this time to her son, and we see how much she's missed it and how she'd really be able to take on performing and still be the supportive mom she's loved being. With the Hammerstine plotline, and correct me if I'm wrong because I don't own the 2012 production, either 'she hasn't been performing so it seems odd that this man would invite her out of the blue, or she has been, and while it fits her status, why does Cony Island have to factor into this gig? At that time, he had access to quite a few concert halls--to me it just makes more sense to have the owner of the performance venue invite her outright, so there's one less lie/mystery to uncover. Plus from the Phantom's character standpoint, that little lure is so...well, Phantom of the Opera-ish. Why have a ten year gap if you're going to have all the characters act like it's been ten days since they last interacted?With the London version, it's a job/business arrangement, and it's made clear that Christine could quit whenever she wanted to, as opposed to a lie, followed by blackmail when the lie inevitably fails.
|
|
|
|
Post by A comet crashing into Earth on Apr 15, 2017 16:11:36 GMT -5
Since starting university, I've made some aquaintances whose friendship itself is turning out to be a minor education in musical theatre. I've been with them to see a live streaming of Newsies (which I didn't know before then, but now kinda love), and in a week's time we're going to see Jesus Christ Superstar. They were also the ones who introduced me to Hamilton and In the Heights.
|
|
|
|
Post by bear on Apr 15, 2017 19:10:45 GMT -5
|
|
|
|
Post by Grace on Apr 17, 2017 23:54:23 GMT -5
Damn this is exactly my sh*t (we're still banning curse words 667? you baby b*tch). West Side Story not been mentioned on here yet? My all time favorite musical.
Incidentally, more recently, Book of Mormon soundtrack never ceases to bang & Hamilton (obv).
|
|
