Great West End Musicals- Page 2

[Gizmo6]

Posted: 2/14/19 at 3:44am

Impossible2 said: "Gizmo6 said: "Also SIX: The Musical of the Six wives is one of the best nights at the theatre I have had in years and I go to a lot of theatre across the world.

It was a rollercoaster of emotions and while sometimes corny the feminist revision of ?herstory’ Was so uplifting. I loved it and the crowd ate it up!!!"

Agreed, it's just amazing and so wonderfully British!

Already booked to go back twice in the next 2 months."

Brilliant. Planning on booking soon again too. I see some of the cast are leaving for Oops I did it again writer musical &Juliet. 

So that’ll be interesting. I just hope Anne of Cleaves will be still there she was amazing. 

[Impossible2]

Posted: 2/14/19 at 5:21am

Gizmo6 said: "Impossible2 said: "Gizmo6 said: "Also SIX: The Musical of the Six wives is one of the best nights at the theatre I have had in years and I go to a lot of theatre across the world.

It was a rollercoaster of emotions and while sometimes corny the feminist revision of ?herstory’ Was so uplifting. I loved it and the crowd ate it up!!!"

Agreed, it's just amazing and so wonderfully British!

Already booked to go back twice in the next 2 months."

Brilliant. Planning on booking soon again too. I see some of the cast are leaving for Oops I did it again writer musical &Juliet.

So that’ll be interesting. I just hope Anne of Cleaves will be still there she was amazing."

Urgh that's a shame as that thing is surely headed for flopsville at break neck speed, though the only girl listed on the &Juilet site is one of the original cast and not from this round of queens.

Yes Cleaves was my fave as well but they are all fantastic.

I think this will become a bit of a star making machine for a lot of young British girls which is fantastic.

Updated On: 2/14/19 at 05:21 AM

[Mister Matt]

Posted: 2/14/19 at 2:17pm

One thing to keep in mind is that the original London productions of Oliver and The Boy Friend were actually small and more intimate.  The Boy Friend in particular was vastly changed and inflated into something of a spectacle for Broadway (and later by Cameron Mackintosh for a West End revival).

I really enjoyed Andrew Lloyd Webber's THE BEAUTIFUL GAME when I saw it in London. It had some great melodies (some of which ended up in other ALW shows or programs). I think the show was too UK-centric to catch on over here.

I attended the final West End performance and really liked it.  It was refreshing to see a Lloyd Webber show that had a conventional book structure (not sung-through) and wasn't a spectacle.  The score was a bit uneven and the story was more-or-less another Romeo/Juliet adaptation, but I thought the whole concept about the setting and story was fascinating.  And Hannah Waddingham literally stopped the show with Our Kind of Love.  The audience ovation didn't cease until she gave a subtle nod as a bow.  It's a shame the song has been withdrawn from the score now that Love Never Dies uses the less interesting version.

[markypoo]

Posted: 2/14/19 at 7:48pm

Not exactly great, but highly entertaining and marvelously staged:

Windy City, 1982 -

with a memorable performance by the late Anton Rodgers.

[Footlight Parade]

Posted: 2/15/19 at 5:35pm

The score for Matilda was written by  Australian Tim Minchin. Add Half A Sixpence and Charlie Girl to the list.

[Footlight Parade]

Posted: 2/15/19 at 5:42pm

Barmitzvah Boy (Don Black/Jule Styne), Songbook

[Impossible2]

Posted: 2/15/19 at 5:59pm

Mister Matt said: "One thing to keep in mind is that the original London productions of Oliver and The Boy Friend were actually small and more intimate. The Boy Friend in particular was vastly changed and inflated into something of a spectacle for Broadway (and later by Cameron Mackintosh for a West End revival).

I really enjoyed Andrew Lloyd Webber's THE BEAUTIFUL GAME when I saw it in London. It had some great melodies (some of which ended up in other ALW shows or programs). I think the show was too UK-centric to catch on over here.

I attended the final West End performance and really liked it. It was refreshing to see a Lloyd Webber show that had a conventional book structure (not sung-through) and wasn't a spectacle. The score was a bit uneven and the story was more-or-less another Romeo/Juliet adaptation, but I thought the whole concept about the setting and story was fascinating. And Hannah Waddingham literally stopped the show with Our Kind of Love. The audience ovation didn't cease until she gave a subtle nod as a bow. It's a shame the song has been withdrawn from the score now that Love Never Dies uses the less interesting version."

Beautiful Game is the only great ALW musical ever.

Whistle Down the Wind is 2nd.

The rest are unwatchable.

[Gizmo6]

Posted: 2/15/19 at 6:24pm

Impossible2 said: "Mister Matt said: "One thing to keep in mind is that the original London productions of Oliver and The Boy Friend were actually small and more intimate. The Boy Friend in particular was vastly changed and inflated into something of a spectacle for Broadway (and later by Cameron Mackintosh for a West End revival).

I really enjoyed Andrew Lloyd Webber's THE BEAUTIFUL GAME when I saw it in London. It had some great melodies (some of which ended up in other ALW shows or programs). I think the show was too UK-centric to catch on over here.

I attended the final West End performance and really liked it. It was refreshing to see a Lloyd Webber show that had a conventional book structure (not sung-through) and wasn't a spectacle. The score was a bit uneven and the story was more-or-less another Romeo/Juliet adaptation, but I thought the whole concept about the setting and story was fascinating. And Hannah Waddingham literally stopped the show with Our Kind of Love. The audience ovation didn't cease until she gave a subtle nod as a bow. It's a shame the song has been withdrawn from the score now that Love Never Dies uses the less interesting version."

Beautiful Game is the only greatALW musical ever.

Whistle Down the Wind is 2nd.

The rest are unwatchable."

Come on that's just ridiculous, Webber has written some of the most brilliant melodies for Diva Star Turns. 

I can't imagine musical theatre today without Evita, Sunset, Cats, Phantom or Jesus Christ Superstar even the Woman in White has moments of real beauty in the chaos. 

I'm no stan of Webber and I think he has lots of failings but credit where credit is due. 

What's funny is the two you've named are two I'm not fond of but I don't write them off as unwatchable. 

Maybe Webber is in someways over produced. When I was young I saw a lot of Bill Kenwright touring productions and they are awful. But his collaborations with Hal Prince are my favourite. 

[Impossible2]

Posted: 2/15/19 at 6:38pm

Gizmo6 said: "Impossible2 said: "Mister Matt said: "One thing to keep in mind is that the original London productions of Oliver and The Boy Friend were actually small and more intimate. The Boy Friend in particular was vastly changed and inflated into something of a spectacle for Broadway (and later by Cameron Mackintosh for a West End revival).

I really enjoyed Andrew Lloyd Webber's THE BEAUTIFUL GAME when I saw it in London. It had some great melodies (some of which ended up in other ALW shows or programs). I think the show was too UK-centric to catch on over here.

I attended the final West End performance and really liked it. It was refreshing to see a Lloyd Webber show that had a conventional book structure (not sung-through) and wasn't a spectacle. The score was a bit uneven and the story was more-or-less another Romeo/Juliet adaptation, but I thought the whole concept about the setting and story was fascinating. And Hannah Waddingham literally stopped the show with Our Kind of Love. The audience ovation didn't cease until she gave a subtle nod as a bow. It's a shame the song has been withdrawn from the score now that Love Never Dies uses the less interesting version."

Beautiful Game is the only greatALW musical ever.

Whistle Down the Wind is 2nd.

The rest are unwatchable."

Come on that's just ridiculous, Webber has written some of the most brilliant melodies for Diva Star Turns.

I can't imagine musical theatre today without Evita, Sunset,Cats, Phantom or Jesus Christ Superstar even the Woman in White has moments of real beauty in the chaos.

I'm no stan of Webber and I think he has lots of failings but credit where credit is due.

What's funny is the two you've named are two I'm not fond of but I don't write them off as unwatchable.

Maybe Webber is in someways over produced. When I was young I saw a lot of Bill Kenwright touring productions and they are awful. But his collaborations with Hal Prince are my favourite."

I'll give you Evita and JCS, they are enjoyable enough.

Sunset is above average.

Phantom and Cats are horrific almost beyond human comprehension.

The rest *shudders

 

[Gizmo6]

Posted: 2/15/19 at 7:24pm

Impossible2 said: "Gizmo6 said: "Impossible2 said: "Mister Matt said: "One thing to keep in mind is that the original London productions of Oliver and The Boy Friend were actually small and more intimate. The Boy Friend in particular was vastly changed and inflated into something of a spectacle for Broadway (and later by Cameron Mackintosh for a West End revival).

I really enjoyed Andrew Lloyd Webber's THE BEAUTIFUL GAME when I saw it in London. It had some great melodies (some of which ended up in other ALW shows or programs). I think the show was too UK-centric to catch on over here.

I attended the final West End performance and really liked it. It was refreshing to see a Lloyd Webber show that had a conventional book structure (not sung-through) and wasn't a spectacle. The score was a bit uneven and the story was more-or-less another Romeo/Juliet adaptation, but I thought the whole concept about the setting and story was fascinating. And Hannah Waddingham literally stopped the show with Our Kind of Love. The audience ovation didn't cease until she gave a subtle nod as a bow. It's a shame the song has been withdrawn from the score now that Love Never Dies uses the less interesting version."

Beautiful Game is the only greatALW musical ever.

Whistle Down the Wind is 2nd.

The rest are unwatchable."

Come on that's just ridiculous, Webber has written some of the most brilliant melodies for Diva Star Turns.

I can't imagine musical theatre today without Evita, Sunset,Cats, Phantom or Jesus Christ Superstar even the Woman in White has moments of real beauty in the chaos.

I'm no stan of Webber and I think he has lots of failings but credit where credit is due.

What's funny is the two you've named are two I'm not fond of but I don't write them off as unwatchable.

Maybe Webber is in someways over produced. When I was young I saw a lot of Bill Kenwright touring productions and they are awful. But his collaborations with Hal Prince are my favourite."

I'll give you Evita and JCS, they are enjoyable enough.

Sunset is above average.

Phantom and Cats are horrific almost beyond human comprehension.

The rest *shudders

"

I know taste is subjective but Phantom is probably the most successful musical of all time and will no doubt live longer in the West End than some of us posters. 

I think there's a lot of snobbery around Cats but T.S. Elliots source material is fantastic and the melody of Memory has enshrined it as one of the most famous musical songs ever written. It's theatrical and whimsical and having seen Lynn's original choreography it was beautiful. 

I'm not a big fan of the religious musicals because they aren't great for female roles. 

And I didn't like Stephen Ward, I think it would work in a striped back version in an intimate setting not a huge theatre like the Aldwych.

[Impossible2]

Posted: 2/15/19 at 8:20pm

Gizmo6 said: "Impossible2 said: "Gizmo6 said: "Impossible2 said: "Mister Matt said: "One thing to keep in mind is that the original London productions of Oliver and The Boy Friend were actually small and more intimate. The Boy Friend in particular was vastly changed and inflated into something of a spectacle for Broadway (and later by Cameron Mackintosh for a West End revival).

I really enjoyed Andrew Lloyd Webber's THE BEAUTIFUL GAME when I saw it in London. It had some great melodies (some of which ended up in other ALW shows or programs). I think the show was too UK-centric to catch on over here.

I attended the final West End performance and really liked it. It was refreshing to see a Lloyd Webber show that had a conventional book structure (not sung-through) and wasn't a spectacle. The score was a bit uneven and the story was more-or-less another Romeo/Juliet adaptation, but I thought the whole concept about the setting and story was fascinating. And Hannah Waddingham literally stopped the show with Our Kind of Love. The audience ovation didn't cease until she gave a subtle nod as a bow. It's a shame the song has been withdrawn from the score now that Love Never Dies uses the less interesting version."

Beautiful Game is the only greatALW musical ever.

Whistle Down the Wind is 2nd.

The rest are unwatchable."

Come on that's just ridiculous, Webber has written some of the most brilliant melodies for Diva Star Turns.

I can't imagine musical theatre today without Evita, Sunset,Cats, Phantom or Jesus Christ Superstar even the Woman in White has moments of real beauty in the chaos.

I'm no stan of Webber and I think he has lots of failings but credit where credit is due.

What's funny is the two you've named are two I'm not fond of but I don't write them off as unwatchable.

Maybe Webber is in someways over produced. When I was young I saw a lot of Bill Kenwright touring productions and they are awful. But his collaborations with Hal Prince are my favourite."

I'll give you Evita and JCS, they are enjoyable enough.

Sunset is above average.

Phantom and Cats are horrific almost beyond human comprehension.

The rest *shudders

"

I know taste is subjective but Phantom is probably the most successful musical of all time and will no doubt live longer in the West End than some of us posters.

I think there's a lot of snobbery around Cats but T.S. Elliots source material is fantastic and the melody of Memory has enshrined it as one of the most famous musical songs ever written. It's theatrical and whimsical and having seen Lynn's original choreography it was beautiful.

I'm not a big fan of the religious musicals because they aren't great for female roles.

And I didn't like Stephen Ward, I think it would work in a striped back version in an intimate setting not a huge theatre like the Aldwych."

Avatar is the highest grossing film of all time, but is it the best? I think not...

 

[Mister Matt]

Posted: 2/15/19 at 9:04pm

Personally, I think Evita and JCS are Lloyd Webber's best, quickly followed by Sunset. I enjoy Phantom when I see it, even when I think I'm tired of it. I saw the original West End production and loved the staging, but found the score wildly uneven. Some good songs among a quagmire of tedium. Unsettled Scores is my least favorite ALW ballad ever. It sounds like he Frankensteined three unfinished and unrelated songs and then it was layered with laundry list lyrics.

[GavestonPS]

Posted: 2/15/19 at 9:32pm

I thoroughly enjoyed THE MOONEY SHAPIRO SONGBOOK in London in 1979. It wasn't groundbreaking a la COMPANY or FOLLIES, but it sure was fun!

Alas, the Broadway transfer closed so quickly I didn't get a chance to see it.

[Impossible2]

Posted: 2/16/19 at 5:14pm

Mister Matt said: "Personally, I think Evita and JCS are Lloyd Webber's best, quickly followed by Sunset. I enjoy Phantom when I see it, even when I think I'm tired of it. I saw the original West End production and loved the staging, but found the score wildly uneven. Some good songs among a quagmire of tedium. Unsettled Scores is my least favorite ALW ballad ever. It sounds like he Frankensteined three unfinished and unrelated songs and then it was layered with laundry list lyrics."

They were both with Tim Rice, hence they’re better.

It’s the stuff he does on his own that are usually horrible.