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re: Spamalot, Sunday Top Olivier Awards; Wicked Snubbed
Jan 18
2007, 03:02:44 PM
I'm sorry, I fail to see where anything I said was overly defensive or at all fangirl-y. I was just pointing out that many did find it surprising and that, in my opinion, considering outside motivations for the lack of a nom is not without merit despite the rather dismissive posts to the contrary. That's all.
I mentioned Tonya simply because she was brought up in an earlier post (and, for the record, I thought she was fantastic in Caroline- though I think Russell will be the frontrunner
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re: Spamalot, Sunday Top Olivier Awards; Wicked Snubbed
Jan 18
2007, 02:28:01 PM
The point was more specifically that Menzel played such a short run deliberately and departed, while the show was obviously still running, and that's something that didn't seem to sit well with some people. Caroline itself ran for such a brief time that Pinkins didn't just open it and leave, so it wasn't the same situation at all.
Again, regardless of what you personally thought of Menzel's performance (which was undeniably even stronger in London than New York), the critical and public
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re: Spamalot, Sunday Top Olivier Awards; Wicked Snubbed
Jan 18
2007, 01:03:15 PM
Some may not understand the hype re: Menzel, but her notices in London were quite strong and the reception in general for her performance seemed very warm. Thus, her omission is a surprise- though it appears the duration of her run (coming over to open the show and then leaving so quickly) as well as the general backlash toward Wicked were considerable factors.
I'm not surprised at Wicked being snubbed, at all. And I'm also befuddled a bit by Mantello's nom.
Also noticed Kevin
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re: Idina Menzel's Final Performance
Jan 3
2007, 07:58:02 PM
She said in one of the London press articles that she hopes the album will be released in May. I think it's rather tentative, though.
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re: Idina Menzel's Final Performance
Jan 1
2007, 11:44:17 AM
It sounds like it was a fantastic show and quite emotional. Helen Dallimore's speech at the curtain call was lovely and very touching.
I'm glad that Idina finally got to do her last show and just as glad she's finished with Wicked as it's time for her to move on to better things.
Also, what's the point of posting in a thread like this just to post the same lame, nasty comments? I mean, why bother opening the thread? I don't get it, ridiculous.
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re: RENT the movie: One Year Later? Your thoughts...
Dec 31
2006, 12:16:44 AM
I thought then and still think that Chris Columbus was completely the wrong choice to direct the movie. So, so wrong. My feelings haven't changed a bit- I still don't particularly like the film and am certain it could have come out much better (very good, even) in a more-suited director's hands.
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re: Your favorite composer?
Dec 29
2006, 03:09:06 PM
Michael John LaChiusa
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re: Why wasn't JLT recycled in wicked?
Dec 15
2006, 05:12:54 PM
JLT was wonderful as Glinda, so human and so real. And, what a voice.
She's taking time away to be with her son- I've heard until he gets school age. And she's flat out said she's not interested in returning to Wicked.
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re: JULIA MURNEY COMES TO BROADWAY AS ELPHABA!
Dec 15
2006, 01:20:05 PM
"Worst kept secret in recent memory..."
Second worst. The LA Wicked cast was the worst kept.
Congrats to them.
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re: Idina Menzel in the Royal Variety Performance
Dec 13
2006, 04:03:27 PM
Actually,
http://westend.broadwayworld.com/board/readmessage.cfm?thread=919704&dt=18
would be more what you're looking for. And this thread should be deleted anyway.
*headdesk*
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re: WICKED: Reviews in LONDON
Sep 29
2006, 10:49:12 AM
Variety:
http://www.variety.com/review/VE1117931728?categoryid=33&cs=1
By DAVID BENEDICT
If it ain't broke, don't fix it. That, largely speaking, appears to be the mantra behind the London production of Broadway's celebrated record-breaker "Wicked." There have been tiny tweaks to Winnie Holzman's book, but the only people likely to notice are the show's devoted fans. Many were at opening night, screaming with happiness the moment the lights went down. But will this supremely American show make fans out of Brits not already in the know?
In terms of reception, history may repeat itself. This is, after all, a show that survived tepid reviews and went on to become Broadway's No. 1 draw.
Initial London reviews are lackluster, ranging from dutiful nods toward the production to grumpy dismissals. There's nothing London critics like less than being told they're sitting down to a Broadway triumph: It leaves them nothing to discover for themselves. Opening-night factions attempting to whip up an atmosphere by yelling their approval only raise critical hackles further.
The principle change to the show is aural: not to Stephen Schwartz's "American Idol"-ized score, which remains intact, but to the accents.
Message boards on theater Web sites have been enlivened by fans arguing over the virtues of the added English accents. Elphaba (Tony winner Idina Menzel, repeating her utterly committed perf) remains American, while Glinda is now English, or, rather, as English as Australian Helen Dallimore can get. Nigel Planer's Wizard is American, while Miriam Margolyes' stentorian Madame Morrible is English and don't you forget it.
In reality, it makes little difference because the show's storytelling has always been subsidiary to its power-balladeering. The overarching tone and concept remain robustly American in a politically correct celebration of difference beneath a heavy coating of universal appeal.
Visually, the show looks stronger than at the Gershwin because the proportions of the Apollo Victoria frame Eugene Lee's set better. The stage is less wide, and the design elements beyond the proscenium arch are built even further out along the walls of the auditorium. That's particularly useful in this, one of the U.K.'s largest houses. When Twyla Tharp's "Movin' Out" played (and died) here in the spring, the building's white walls made the atmosphere about as welcoming as an aircraft hangar. The "Wicked"-toned refurbishment -- hint: it's very green -- is a notable success.
The same cannot quite be said of all the cast, who perform with more gusto than grace. Dallimore had some pitch problems at the top of the show. At its considerable best, her voice has real soprano power, but it lacks the almost comic "ping" of Kristin Chenoweth, who created the role. She is so outclassed by Menzel that when they take the curtain call together you could sense disappointment because, rightly, the audience wanted to scream for Elphaba alone.
Planer looks horribly lost in the underwritten role of the Wizard; while Adam Garcia's Fiyero and James Gillan's Boq are efficient, neither makes much impact. But every awards judge will likely put Margolyes' magnificently ripe turn as Madam Morrible on top of their noms list for supporting performance in a musical.
London is snowed under with 19 tuners on the boards, with "Dirty Dancing," "Cabaret," "Caroline, or Change," "Porgy and Bess" and "The Sound of Music" all opening in the next six weeks. Whatever the "Wicked" detractors may say -- and, rumored healthy box office advances aside, there are plenty of them -- in terms of musical spectacle, "The Lion King" is its only London rival.
The major sticking point is that Oz, let alone Gregory Maguire's backstory novel, simply isn't the cultural touchstone here that it is in the U.S. The movie of "The Wizard of Oz" is well loved, but L. Frank Baum's books are little read. To succeed in the U.K., the producers are going to have to work hard to market the teen and family word of mouth that has made it such a well-branded property back home.
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re: WICKED: Reviews in LONDON
Sep 28
2006, 03:24:20 PM
More positive:
http://www.theatre.com/story/id/3003910
The first glowing one I've seen:
https://www.broadwayworld.com/viewcolumn.cfm?colid=12542
...It has a lot to say about politics, about leadership and power; in our Bush-Blair world there seems to be some nicely ironic statements, about silencing those who speak out. And though it’s on an epic scale with huge sets, effects and costumes, thankfully Wicked maintains its integrity even when succumbing to spectacle – it still feels very intimate, and in a two thousand seater auditorium it’s incredible to feel such a rapt attention to the story, which is naturally very strong. There are few musicals in London that have such a pleasing narrative, that fulfils and maintains through a near three-hour show. Wicked clearly holds a strong affection for The Wizard of Oz, but can also stand alone as a brilliant piece of storytelling. That being said, it’s a great feeling to be able to piece the two stories together, a gimmick giving the theatregoer a warm rush of fulfillment at their own musical theatre knowledge.
The outstanding actress Idina Menzel, who created the role of Elphaba at the start of its three year life, has flown in from New York to give one of the best performances on a London stage – you’ll feel the hairs on the back of your neck stand on end as she rips her way through several blockbuster numbers. She effortlessly soars her way through a repertoire of belting songs; The Wizard and I - the first spine-tingling moment of the night, I’m Not That Girl – which though a complete plot hold-up, is a beautiful song, and then the, literally, soaring Act 1 finale Defying Gravity. We’re treated to more of her voice in Act 2; the belting numbers As Long As You’re Mine and No Good Deed before her finale duet For Good. But it’s not just her voice that captivates, it’s everything about her. She enchants the audience with such an excellently measured performance – a true star in the same league as Broadway’s best.
Having been overwhelmed by Kristin Chenoweth’s dazzling Broadway performance as Glinda – one I felt sure to win the Tony – it’s quite a shock to find a more subdued, polite actress in London, characteristics that unfortunately come from giving the character an English accent, which simply doesn’t work. Helen Dallimore may not have that natural comic time bomb the part demands, but she does have a beautiful voice, attractive appearance and highly proficient acting skills. Her character makes a mature personal journey and Dallimore confidently addresses this, making a clear transformation throughout. But Glinda is a very American creation, so it’s a shame she speaks with such a taut English voice – especially against Menzel’s natural American accent, it makes her seem uptight. Otherwise, an excellent West End debut (Dallimore is Australian).
In the supporting roles there’s much to enjoy with plenty of consistent cameos. Miriam Margoyles – though speaking her way through Madame Morrible’s already limited musical moments – is a real treat as the University professor, finding laughs where they ought to be but creating terror where terror is needed. I strongly suspect she will be a Best Supporting Actress nominee next year. Nigel Planer as The Wizard has two largely unmemorable songs, but for the brief moments he’s on stage he confidently handles his part and creates quite a warm-hearted, kind old Wizard. Adam Garcia as love interest Fiyero makes little impact thanks to his weakly written role - what exactly is the point of his character? He has little to work with and his English accent makes him sound very false – the part is so clearly American.
Unless you haven’t already grasped, accents are a problem in the London production. In order to achieve consistency with the film, we expect them to be American, but it’s obvious in places it was written that way as well; many of Glinda’s lines would be much better delivered in a dizzy American voice instead of with clear-cut English diction. Fantasy land may demand a suspension of disbelief anyway, but it’s confused by multiple accents; student Boq is Scottish, Elphaba American and her sister English! A reversion to all-American voices would be so much more pleasing I feel, and from speaking to those around me, it’s an opinion shared by many. The show is an obvious Broadway import, it’s hard to disguise it as English!
Nevertheless, this will do very well, I’m sure. Any niggles – relatively poor choreography, occasionally weak written characters - are easily cast aside. It’s a strong, family orientated musical and delves out an array of heartfelt messages too. The unlikely friendship between the Good Witch and the Wicked one has a never-ending curiosity for all ages and both sexes, which should therefore see audiences packing the theatre for years.
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re: WICKED: Reviews in LONDON
Sep 28
2006, 09:18:26 AM
Flawed, but witches' spell still works First night
By Charles Spencer
The Daily Telegraph
APOLLO VICTORIA
DESPITE all my best endeavours, I have never found myself capable of becoming a friend of Dorothy.
The much loved 1939 movie The Wizard of Oz gives me the creeps and as Dorothy and her cute male friends wend their way along the yellow brick road, I feel more like throwing up than applauding.
Those ghastly Munchkins, the tooth-rotting sweetness
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re: Wicked London Video
Sep 26
2006, 04:00:10 PM
The issues during the NY run were the result of continuing to perform and not giving her voice a chance to rest/heal after being ill. It's not the same situation.
I do think it's premature to judge an entire performance off of one brief video. The reports I've heard from people who were there were that her voice has been strong overall, and all of the other performances I've, um... experienced from London sounded significantly better than that. JMO.
The video is fun. I
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re: Just back from first London 'Wicked' preview..........
Sep 10
2006, 01:40:55 PM
It doesn't. She didn't fly in the matinee yesterday because of an apparent technical issue with the machine.
She was ill, and was not going to go on during the evening show, but did end up performing (due to some issue with Kerry Ellis) and did fly.
Though, I would imagine, trying to sing that song up on the flying machine while ill would not be a very pleasant experience.
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re: Just back from first London 'Wicked' preview..........
Sep 8
2006, 04:58:48 PM
straw, I read on another forum that she was a little freaked but very sweet and stayed and signed for every person there. I don't know about pictures, though (if it's a zoo, probably not...)
snl, I've always thought No Good Deed was Idina's best song as well, especially later in the Broadway run (obviously haven't heard this one yet).
I don't think Fiyero as a role does much for anyone. I haven't seen one yet who was particularly memorable, even Norbert. Adam Garcia is so hot,
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re: Just back from first London 'Wicked' preview..........
Sep 7
2006, 07:01:21 PM
Thanks so much for the reviews! Really appreciate the detail.
How was Martin Ball as Dillamond? I've been enjoying his blog so much I have to ask.
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re: Martin Ball's West End 'Wicked' Diary
Sep 4
2006, 11:27:57 PM
Actually, I thought the girl next to Miriam was the one who was wondering what to wear to Idina's party. It did kind of sound like her giggling off camera, though.
First encounter with the mysterious Helen Dallimore- she's very cute (and I love that she's not going to play Galinda as an airhead). Adam is welcome to come to my house anytime and do whatever he wants with his clothes off. And Idina was adorable, obviously.
Very enjoyable vid this time. And everything is more charm
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re: Logan Lipton and Steven Skybell in Wicked
Aug 9
2006, 05:32:32 PM
There are a lot of three namers...
Jennifer Laura Thompson, Laura Bell Bundy, Melissa Bell Chait
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re: Is Julia the standby Elphaba now?
Jul 17
2006, 07:04:43 PM
Just a note because it's been referenced several times- Menzel was also in The Wild Party, and in SWIWS (which is even more adult-oriented). The teenybopper (and I mean that more in manner than age) fans are more visible and more vocal, but that doesn't make them the entirety, or even the majority, by any stretch. It's presumptuous to forget she does in fact have a quite substantial "mature" fan base as well. And given the backlash at Idina's popularity, such fans are more inclined (certainly t
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