Posted: 6/21/21 at 5:57pm
Posted: 6/21/21 at 5:59pm
Posted: 6/21/21 at 6:03pm
Joshua Rosenthal said: "Happy opening to the West Ends limited run revival of Hairpsray! I know its a very optimistic thing to wonder, but does anyone else wonder/hope this may mean a potential Broadway revival? Its been more than long enough tbh as I think its a story worth telling always."
This production is an exact replica of the original. Direction, choreography, designs. I think if Hairspray were to return to Broadway it would need to be a fresh interpretation.
Posted: 6/21/21 at 6:29pm
Seeing it next week. I’m kinda thrilled it’s a replica of the original - how do you top perfection like that?
Updated On: 6/21/21 at 06:29 PM
Posted: 6/21/21 at 8:57pm
Posted: 6/21/21 at 10:50pm
Posted: 6/21/21 at 11:17pm
I really really wish we were getting a nice equity tour here in the US in time for the 20th anniversary next year. Or a short engagement back on Broadway.
I know on another message thread for this production, there was some talk that it might be getting filmed, anybody know are the chances of that actually happening? I'm guessing with covid restrictions, the chances of that are exceptionally slim. But it would be great.
I'm looking forward to hearing reviews from people who get to see this production!
Updated On: 6/21/21 at 11:17 PM
Posted: 6/22/21 at 11:24am
Posted: 6/22/21 at 2:45pm
Call_me_jorge said: "Looking at the set for the west end revival, it doesn’t seem to be built past the proscenium and is more set back like a touring set. I know it’s a limited engagement, but I wonder if that could mean they plan to tour the rest of the UK next."
I seem to remember it being announced that there was going to be another Hairspray tour in the UK for the coming touring season. but not sure if it was for this production or a continuation of the last Touring production that toured the UK
Updated On: 6/22/21 at 02:45 PM
Posted: 6/22/21 at 3:02pm
Add me to the chorus of people who wish we were getting an Equity tour or limited Broadway engagement. I feel like Hairspray is the type of show that would really help bring people back and lift spirits. I'll likely see the non equity tour when it comes to Philly, but I do wish the caliber were higher overall.
Posted: 6/22/21 at 3:19pm
Posted: 6/22/21 at 4:03pm
darreyl102 said: "Call_me_jorge said: "Looking at the set for the west end revival, it doesn’t seem to be built past the proscenium and is more set back like a touring set. I know it’s a limited engagement, but I wonder if that could mean they plan to tour the rest of the UK next."
I seem to remember it being announced that there was going to be another Hairspray tour in the UK for the coming touring season. but not sure if it was for this production or a continuation of the last Touring production that toured the UK"
It’s a continuation of the last few tours. It’s a cheap, cardboard cut out version that has nothing at all on the original production.
Posted: 6/22/21 at 6:16pm
I ended up catching what I believe was the second preview of this show tonight on impulse. Let me start by saying that I think it is quite overwhelming to see a fully staged musical after SO long and I had slightly forgot that the magic of live theatre is like nothing else - watching the energetic choreography, passionate cast, funky costumes and set move before your eyes with an enthusiastic audience beside you does not compare to any other medium of story telling in my opinion and it is so good to be back. I can only imagine how exciting it will be to be in some of the early Broadway audiences soon.
During curtain call Michael Ball gave a brief speech to the effect of:
“You cannot imagine how great it feels to hear that sound again [of the audience cheering]. And you’re doing twice the work [because it is a socially distanced audience at less than 50% capacity]. Spread the word. The west end is back.”
Again, just overwhelming, especially after what might be the most catchy and energetic ending of a musical I have ever seen or heard with “You Can’t Stop The Beat”, which can easily make you forgive anything that came before it.
Other highlights include Marisha Wallace whose performance of “I Know Where I’ve Been” was the most authentic and musically virtuosic performance of the night, which had a standing ovation from most of the audience - I can’t recall if I’ve seen this happen in London (more common on Broadway). In the right year this could be a Tony Award winning featured actress performance.
Out of the white characters, Michael Ball’s performance was also surprisingly the most authentic in my opinion, with “You’re Timeless To Me” in particular being a heartfelt, hilarious showstopper. I can’t help but wonder if he might have had a little more energy 13 years ago in the role, but it was still a highlight.
The show itself, well I assume most people are familiar with it here - I think it’s quite interesting because it feels like a frivolous candy (fairy) floss mid-19th century Broadway musical (not even up to Rodgers & Hammerstein level in terms of timescale) yet this sugary treat is cleverly peppered with enough fresh catchy songs, edgy one-liners and beef stock of social progress themes that it manages to be both highly entertaining and meaningful at the same time. It doesn’t scream, shout or shock you into wanting change - it doesn’t try and pull at your emotions (cf. The Color Purple or Caroline, or Change) - it just makes you feel like your friends are dancing on that stage and you want society to progress because you want what is best for them. Maybe not as dramatically interesting as the more 'serious' shows but highly effective.
If I were to try and think of negatives, I would say it is overamplified and while the show is kind of a cartoon, I wondered if much of the cast are playing at 150% right now and could bring it down a little to 100% - because it came across as a little inauthentic and shrieky from some of the cast. I haven’t seen the show on stage before and it’s not one of my favs so I can’t tell if this is just the aesthetic of the show though. At the very least, you could be sitting at the back of the very top level and still feel the cast is playing to you!
The set felt right for an average mid-size musical - not particularly lavish or too simple either. I would not be surprised if it was based on a touring scale, but I don’t think the set is the point of the show to me - it’s not Moulin Rogue.
Overall, would highly recommend and it does feel like the right show for Broadway right now.
Finally, I will continue to beat a dead horse and I don’t think you should expect anything less (or more, rather) from me or this forum, but THIS was the role that Bernadette lost her Tony for in Gypsy?
Updated On: 6/22/21 at 06:16 PM
Posted: 6/22/21 at 7:21pm
binau said: "I ended up catching what I believe was the second preview of this show tonight on impulse. Let me start by saying that I think it is quite overwhelming to see a fully staged musical after SO long and I had slightly forgot that the magic of live theatre is like nothing else - watching the energetic choreography, passionate cast, funky costumes and set move before your eyes with an enthusiastic audience beside you does not compare to any other medium of story telling in my opinion and it is so good to be back. I can only imagine how exciting it will be to be in some of the early Broadway audiences soon.
During curtain call Michael Ball gave a brief speech to the effect of:
“You cannot imagine how great it feels to hear that sound again [of the audience cheering]. And you’re doing twice the work [because it is a socially distanced audience at less than 50% capacity]. Spread the word. The west end is back.”
Again, just overwhelming, especially after what might be the most catchy and energetic ending of a musical I have ever seen or heard with “You Can’t Stop The Beat”, which can easily make you forgive anything that came before it.
Other highlights include Marisha Wallace whose performance of “I Know Where I’ve Been” was the most authentic and musically virtuosic performance of the night, which had a standing ovation from most of the audience - I can’t recall if I’ve seen this happen in London (more common on Broadway). In the right year this couldbe a Tony Award winning featured actress performance.
Out of the white characters, Michael Ball’s performance was also surprisingly the most authentic in my opinion, with “You’re Timeless To Me” in particular being a heartfelt, hilarious showstopper. I can’t help but wonder if he might have had a little more energy 13 years ago in the role, but it was still a highlight.
The show itself, well I assume most people are familiar with it here - I think it’s quite interesting because it feels like a frivolous candy (fairy) floss mid-19th century Broadway musical (not even up to Rodgers & Hammerstein level in terms of timescale) yet this sugary treat is cleverly peppered with enough fresh catchy songs, edgy one-liners and beef stock of social progress themes that it manages to be both highly entertaining and meaningful at the same time. It doesn’t scream, shout or shock you into wanting change - it doesn’t try and pull at your emotions (cf. The Color Purple or Caroline, or Change) - it just makes you feel like your friends are dancing on that stage and you want society to progress because you want what is best for them. Maybe not as dramatically interesting as the more 'serious' shows but highly effective.
If I were to try and think of negatives, I would say it is overamplified and while the show is kind of a cartoon, I wondered if much of the cast are playing at 150% right now and could bring it down a little to 100% - because it came across as a little inauthentic and shrieky from some of the cast.I haven’t seen the show on stage before and it’s not one of my favs so I can’t tell if this is just the aesthetic of the show though. At the very least, you could be sitting at the back of the very top level and still feel the cast is playing to you!
The set felt right for an average mid-size musical - not particularly lavish or too simple either. I would not be surprised if it was based on a touring scale, but I don’t think the set is the point of the show to me - it’s not Moulin Rogue.
Overall, would highly recommend and it does feel like the right show for Broadway right now.
Finally, I will continue to beat a dead horse and I don’t think you should expect anything less (or more, rather) from me or this forum, but THIS was the role that Bernadette lost her Tony for in Gypsy?"
Thank you so much for the review. You took us there with you. I really appreciate that. And I was waiting for your Bernadette comment. You did not disappoint. Thanks again.
Posted: 6/23/21 at 9:27am
binau said: "I ended up catching what I believe was the second preview of this show tonight on impulse. Let me start by saying that I think it is quite overwhelming to see a fully staged musical after SO long and I had slightly forgot that the magic of live theatre is like nothing else - watching the energetic choreography, passionate cast, funky costumes and set move before your eyes with an enthusiastic audience beside you does not compare to any other medium of story telling in my opinion and it is so good to be back. I can only imagine how exciting it will be to be in some of the early Broadway audiences soon.
During curtain call Michael Ball gave a brief speech to the effect of:
“You cannot imagine how great it feels to hear that sound again [of the audience cheering]. And you’re doing twice the work [because it is a socially distanced audience at less than 50% capacity]. Spread the word. The west end is back.”
Again, just overwhelming, especially after what might be the most catchy and energetic ending of a musical I have ever seen or heard with “You Can’t Stop The Beat”, which can easily make you forgive anything that came before it.
Other highlights include Marisha Wallace whose performance of “I Know Where I’ve Been” was the most authentic and musically virtuosic performance of the night, which had a standing ovation from most of the audience - I can’t recall if I’ve seen this happen in London (more common on Broadway). In the right year this couldbe a Tony Award winning featured actress performance.
Out of the white characters, Michael Ball’s performance was also surprisingly the most authentic in my opinion, with “You’re Timeless To Me” in particular being a heartfelt, hilarious showstopper. I can’t help but wonder if he might have had a little more energy 13 years ago in the role, but it was still a highlight.
The show itself, well I assume most people are familiar with it here - I think it’s quite interesting because it feels like a frivolous candy (fairy) floss mid-19th century Broadway musical (not even up to Rodgers & Hammerstein level in terms of timescale) yet this sugary treat is cleverly peppered with enough fresh catchy songs, edgy one-liners and beef stock of social progress themes that it manages to be both highly entertaining and meaningful at the same time. It doesn’t scream, shout or shock you into wanting change - it doesn’t try and pull at your emotions (cf. The Color Purple or Caroline, or Change) - it just makes you feel like your friends are dancing on that stage and you want society to progress because you want what is best for them. Maybe not as dramatically interesting as the more 'serious' shows but highly effective.
If I were to try and think of negatives, I would say it is overamplified and while the show is kind of a cartoon, I wondered if much of the cast are playing at 150% right now and could bring it down a little to 100% - because it came across as a little inauthentic and shrieky from some of the cast.I haven’t seen the show on stage before and it’s not one of my favs so I can’t tell if this is just the aesthetic of the show though. At the very least, you could be sitting at the back of the very top level and still feel the cast is playing to you!
The set felt right for an average mid-size musical - not particularly lavish or too simple either. I would not be surprised if it was based on a touring scale, but I don’t think the set is the point of the show to me - it’s not Moulin Rogue.
Overall, would highly recommend and it does feel like the right show for Broadway right now.
Finally, I will continue to beat a dead horse and I don’t think you should expect anything less (or more, rather) from me or this forum, but THIS was the role that Bernadette lost her Tony for in Gypsy?"
Thank you so much for the review - I always thoroughly enjoy reading your thoughtful posts! This sounds like such a fun night out!
Posted: 6/27/21 at 7:33am
A couple of pics I took. First is show curtain, it's more pink than blue. For some reason it doesn't work with a camera well:
Curtain call:
My personal favourite is this standing ovation with a socially distanced audience & masks. Really beautiful theatre
Posted: 6/27/21 at 11:52am
- the set is a slightly adapted version of the original UK tour, eliminating all of the automation. And certain other elements are more simplified than the original sit down productions.
- the show is very specifically constructed to follow the aesthetic of a Golden sage musical comedy, but with the deeper substance and modern sensibility woven throughout… the design of the show follows suit 100% and I have always loved that. The Easter Eggs in the show always make me smile.
- certain roles in the show can easily lean toward “cartoon” in some hands and the British aesthetic tends to amplify that a bit.
- yes, that role won pit over Bernadette’s Rose. Tracy is a marathon that does not spend much time off stage and has even less downtime, and it was the case of the right person, in the role, in the right company, where all of the individual pieces of the puzzle were wonderful and the completed puzzle was even more so.
- it’s absolutely a case of “a spoonful of sugar helps the medicine go down”
Posted: 6/27/21 at 2:02pm
