Profile for Eastwickian

I saw the London and UK tour productions several times and loved them. The plot was fairly cliche / predictable, though with the background that much of what occurred was real, even if some of the characters were fictitious. The book felt that it was mostly a vehicle for the brilliant songs - I suspect that if I had seen the 20th anniversary concert in London last year, I would not have missed the full dialogue and staging too much. I have no idea of the Broadway changes improved this at all,...

GiantsInTheSky2 said: "Merch page is live:https://www.broadwaymerchandiseshop.com/collections/sweeney-todd"Thanks - will keep an eye on it as would love a windowcard, though I suspect shipping over to the UK will be prohibitive… Very much enjoying the post-show reports - thanks to all who have contributed! Can only dream of a West End transfer with that orchestra…

Jordan Catalano said: "Only once after a performance of “In My Life”."I saw that, though there was no booing at my performance - in fact it inexplicably got a standing ovation and I was tutted at by a couple of audience members around me when I didn’t join in. I was happy to applaud the performers for getting through the show and giving their all, but overall it was a bit . . . well apparently I can’t say, but it comes in steaming piles…

Such a loss - of a man, a composer, a voice . . . almost the definition of unique in so many respects, and deserving of the term ‘legendary’. What a legacy he leaves. RIP Stephen Sondheim

Bridget Jones, with music and lyrics by Lily Allen. I believe there were workshops, but not heard anything since Lily dropped out in 2014…

morosco said: "The orchestra pit looks much smaller. How many musicians nowadays?"14. Easily the worst change IMO

I have only ever paid one visit to New York - and this was one of the shows I saw! I also saw The Light in the Piazza - it was very much a trip of extremes… I don’t know about changes, but I do recall being handed a questionnaire on the way out asking if I had any suggestions for improvements. The space allocated for my response was far too small.

‘Beautiful’ from Sunday in the Park with George Sundays- Disappearing As we look You make it beautiful Oh, Georgie, how I long for the old view

Does ‘In My Life’ count? That show was . . . I don’t know what it was. The cast were obviously talented, but they were overwhelmed by the weird narrative shifts, mostly boring songs, and tonal gear changes which meant it was difficult to know if you were supposed to be laughing at many points. As a bonus I got glared at by fellow audience members because I refused to give it a standing ovation (though in retrospect the cast probably deserved one). And that’s before all the drama around the sh...

SweetLips22 said: "One thing I HATE is when the audience claps along to the 'bow music' and there is no increased level of applause when a featured performer appears. My pathetic little clap is lost amongst the 'sea of claps' until the roar for the Star happens.I just feel for the hardworking performer who misses out on hearing their usually well deserved applause.Must learn to be a happy little clapper[along]."I agree, though it’s the fault of the director and Musical arranger as I assume su...

Words Words Words from Witches of Eastwick

Bumping for "Singin' in the Rain" at the Palace Theatre, London View larger here: http://www.flickr.com/photos/coffeecup/6795898522/in/photostream/

Bat Boy The Fix Zombie Prom

Compared to previous incarnations of the story, it was dull, dispassionate, and confusing. And there is no excuse for a story so musical to have such an utterly forgettable score. I actually can't remember a single song. I can, however, hum the theme to the movie. That sums it up for me. The storytelling was muddied and confused, that Lion King bit that opened the second act added nothing, and the score-by-committee was dull and lacked anything to coherently pull it all together.

West Side Story Sweeney Todd Ragtime Into the Woods (London Cast) Sunday in the Park with George Slight bias towards Sondheim, but I'd never get bored with those five...

Never actually cried, but have had a lump in my throat at: Blood Brothers: at the line "Why didn't you give me away Mam? I could have been him." The point of the entire show in two short sentences. Les Mis: when the ensemble return at the end of the finale. Sunday in the Park with George: at 'Beautiful' in the London production of the revival. Combination of lighting, leaves and actress....

My friends and I sat directly in front of Trevor Nunn at 'Gone with the Wind', but didn't realise until we'd made some rather loud derogatory comments on how we felt about the show at the interval.. Also behind Andrew Lloyd Webber at an early preview of Bombay Dreams and again at The Woman in White, behind Richard Eyre and Cameron Mackintosh during the Bristol tryout of Mary Poppins, and next to Germaine Greer at the Menier Chocolate Factory for the opening night of A Little Night Music. The ...

Not technically Broadway, but a poster from the RSC run of Carrie starring Barbra Cook and an original front of house display from the 1975 London production of A Little Night Music.

But it is wrong to say that nothing happens - peerrjb outlined the plot and there's plenty going on. It's just that what does happen, and the speed at which it unfolds, doesn't engage you. Which is a different question, surely?

Jonathan Tunick and William David Brohn were the two that sprung instantly to mind - Company, Into the Woods and Ragtime are particularly brilliant. Has anyone read 'The Sound of Broadway Music - A Book of Orchestrators and Orchestrations' by Steven Suskin? Excellent book, highly recommended for anyone interested in the subject...