#51
Posted: 10/24/24 at 4:40pm
Madonna ruined any chance of it happening but I’d do anything to see Lady Gaga play this role.
SUNSET BOULEVARD 2024 West End Cast Recording Thread — Page 3
#52
Posted: 10/24/24 at 4:49pm
A West End gossip account (@ShaunTossell) referred to the EVITA casting he'd heard as "A major MT return" if it comes to fruition. Grain of salt, of course.
#53
Posted: 10/24/24 at 4:55pm
chernjam said: "they kind of leak/confirm his next musical is The Illusionists"
I'm not familiar with the film but the wikipedia article makes it sound like a good fit for the stage and for ALW specifically. Say what you want about the man but he still has good turns in him (as evidenced by some of BAD CINDERELLA), he just needs strong collaborators around him who can balance out some of his poor instincts as a producer & micromanager.
Has there been any scoop on who the lyricist, bookwriter, and director are? Those elements are what will make or break a show.
Updated On: 10/24/24 at 04:55 PM
#54
Posted: 10/24/24 at 5:05pm
Jamie Lloyd is the hottest theatre director in both New York and London right now. I would fully expect major casting in this upcoming revival of EVITA. I am having a hard time imagining who this 'major MT return' could be though.
Give me claws and a hunch, just away from this bunch.
#55
Posted: 10/24/24 at 5:12pm
What in the world is going on in track 17? The scene that replaces “The Lady’s Paying.” Why are they both delivering the dialogue so slow and muted? What’s happening on stage at that point?
#56
Posted: 10/24/24 at 5:50pm
If this is anything like his Evita at Regent’s Park, that means we’ll get another Jamie Lloyd show where the male lead ends the show in his underwear and covered in liquid.
#57
Posted: 10/24/24 at 5:54pm
CreatureKitchen said: "If this is anything like his Evita at Regent’s Park, that means we’ll get another Jamie Lloyd show where the male lead ends the show in his underwear and covered in liquid."
More of this please.
#58
Posted: 10/24/24 at 5:54pm
CreatureKitchen said: "If this is anything like his Evita at Regent’s Park, that means we’ll get another Jamie Lloyd show where the male lead ends the show in his underwear and covered in liquid."
That’s a normal Tuesday night for me, toots.
#59
Posted: 10/24/24 at 6:02pm
CATSNYrevival said: "More of this please."
I didn’t mean it as a criticism, I thought his Evita was interesting! I think Evita is already more Brechtian in how it handles its characters and suits his style well.
I just think it’s funny he also had Che slowly strip down to his underwear and get covered in paint in that production.
#60
Posted: 10/24/24 at 6:17pm
After seeing Jamie Lloyd's direction of Sunset Blvd two weeks ago now, and still thinking about it, I would love to see what he does with Evita. Hal Prince has been the only one who seems to have had a successful production of it to date, and too many since have tried to soften Eva up... There's been some interesting clips I've seen here and there of other University's who've made attempts at it (I'm thinking of this one with the Ichyrus Myth as part of the tone with a stunning opening scene: #MondayMusicalMoments | Opening Act I | Evita)
Would imagine Jamie Lloyd bringing this back to the original much darker tone and intent that Rice and Lloyd Webber had when first writing it
#61
Posted: 10/24/24 at 6:41pm
Agreed. Evita, since it’s essentially a staged concept album, is far more about theme and ideas than plot/character/setting/etc. To me, it’s always been sort of a meditation on the consequences of ambition and power. The characters are meant to be emotionally distant. The relationships between them are meant to be completely transactional. It genuinely seems like a good fit for the kind of thematic and conceptual exploration Jamie Lloyd enjoys.
Anyways, back to the Sunset cast recording, I’ll stop derailing…
#62
Posted: 10/24/24 at 7:15pm
CATSNYrevival said: "What in the world is going on in track 17? The scene that replaces “The Lady’s Paying.” Why are they both delivering the dialogue so slow and muted? What’s happening on stage at that point?"
Click Here To Toggle Spoiler Content
As I’m remembering, Norma is seated center stage and Joe is slowly getting undressed from his street clothes and changed into his new suit off to the side. It’s meant to feel like he’s being hypnotized by her and put under her spell, which he eventually breaks when he removes the suit at the end of the show before she kills him.
#64
Posted: 10/25/24 at 12:00am
It’s finally out! Happy listening, folks.
“I am furious, but I am sailing.”
#65
Posted: 10/25/24 at 12:31am
My goodness this sounds lush… and NS.. my gods ..
#66
Posted: 10/25/24 at 12:33am
wow Nicole, the Tony is yours
#67
Posted: 10/25/24 at 2:08am
Is it very quiet for anyone else?
#68
Posted: 10/25/24 at 2:45am
It’s 11;40 PM in Los Angeles and I’m listening to this now. I thought the “live” recording would suffer compared to one recorded conventionally in a studio. I thought wrong. This recording is spectacular!
#69
Posted: 10/25/24 at 2:52am
Outstanding . Can’t get enough of it.
HUSSY POWER!
------ HUSSY POWER!
#70
Posted: 10/25/24 at 4:37am
I don’t know how long she holds the note in NYC but in London Nicole typically held the ‘homeeeee’ note a little longer than on record. At least based on the few times I saw it. How long does she hold it now? Also, I wonder if in NYC people scream over her or if you can actually hear it (thinking Lea Michele in Funny Girl).
Give me claws and a hunch, just away from this bunch.
#71
Posted: 10/25/24 at 5:26am
Goosebumps for days - this sounds as good on the album as it does in the theatre. The "Car Chase" interlude is particularly thrilling. This whole album really captures the spirit of the production. And, of course, Nicole sounds great. Love it.
"There’s nothing quite like the power and the passion of Broadway music. "
#72
Posted: 10/25/24 at 7:13am
binau said: "I don’t know how long she holds the note in NYC but in London Nicole typically held the ‘homeeeee’ note a little longer than on record. At least based on the few times I saw it. How long does she hold it now? Also, I wonder if in NYC people scream over her or if you can actually hear it (thinking Lea Michele in Funny Girl)."
When I saw it last week, she held it long enough that I silently “said” “WOW” when she continued with “at last” without taking a breath
#73
Posted: 10/25/24 at 7:28am
bwayphreak234 said: "Goosebumps for days - this sounds as good on the album as it does in the theatre. The "Car Chase" interlude is particularly thrilling. This whole album really captures the spirit of the production. And, of course, Nicole sounds great.Love it."
I loved how Jamie Lloyd staged “Car Chase”. Still got goosebumps when I think about it
#74
Posted: 10/25/24 at 8:09am
The restraint she uses to slowly build WOL is sublime. Masterful dynamic work. A+
#75
Posted: 10/25/24 at 8:12am
chernjam said: "to see what he does with Evita "
Probably the same. Black stage. Disregarding all lyrics and story. TikTok jokes. Copying the video camera idea from Rent 1996, throw in some Madonna and Lady Gaga jokes, maybe an inflatable Andrew Lloyd Webber doll and some Diddy jokes and call it meta.
About the cast recording, the sound design live was one of the few things I appreciated in London. I miss this on the recording. Also, I feel that her 2 big songs lack dynamics. They are just too slow, the tempo is ok at the beginning of the songs but it all keeps sounding like an intro. I'm tuning out after the 2nd verse. The long note in the middle of AIWNSG wakes people up. But even this sounded better live. Little details, such as flat notes and pronunciation errors are also much more clear on the recording compared to what I noticed live. Maybe she didn't feel well during this recording or it's just clearer to hear these things now.
Updated On: 10/25/24 at 08:12 AM
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