I’ve always been something of a defender for We Will Rock You. Yes, it’s a shameless jukebox show, and yes, Ben Elton’s script isn’t nearly as good or as smart as it could (or should) be, but you can tell that they made a serious effort to create something interesting and it’s paid off. It’s also one of the first shows I reviewed on this site.
So when offered a deal I couldn’t refuse on tickets, I gladly snapped them up. And in retrospect, I was a bit harsh on my prior worth paying - only £15? What was I thinking?
Anyways, most of my prior comments stand as written, but as always, a few changes have been made and a new cast are in, so here goes again with the magic bullet points.
-Some of the background animations have been changed. They still look good, and somehow WWRY manages to be the only show to go nuts with the light boards and NOT make my eyes hurt, perhaps because the lighting in general is so damn impressive.
-Michael Jackson has been added to the list of those who died early. But where the hell is Keith Moon?
-I went on what turned out to be the night of a thousand understudies. John Boydon was again on as Galileo in the first act, playing the role as a bit more stupid and his ticks were more pronounced than I remember. His voice was also going, and he was replaced in the second act by Matthew McKenna who was excellent as Galileo’s more confident side.
-Continuing the understudy trend, TV casting reject Rachel Tucker was on as Scaramouche. To be honest, I think this is the perfect role for her. She wails on the numbers, and brings a completely new take to the role: rather than the fiesty cockney she has a heavy Scottish accent and speaks with a slow burning and intentional sarcasm. She may not be as fierce as other Scaramouches, but it works brilliantly.
-In a rare occurrence, Mazz Murray was out and Rebecca McKinnis was on as the Killer Queen. It was nice to see a new take on the role, but Ms. McKinniss didn’t do very much to make the role her own. Her voice was also on the thin side and she lacked the command presence during her songs that Ms. Murray or the original Killer Queen, Sharon D. Clarke, possessed.
-Rounding out the swings, Amanda Coutts was on in Ms. Tucker’s regular track as Meat and Rakesh Boury as Britney Spears. The duo were fine, nothing to really comment on here.
-Gary Lake is a rather crass Pop, and it’s amazing that Alex Bourne can still be excited about doing the show every night after how many years in?
-The ensemble need a dance call. Some of the choreography was out of sync and you can see where bits and pieces have been revised over the years because some people do the old moves and some the new ones...
-I was off to the side in the rear stalls and the sound was an issue - the lyrics were totally drowned at times (Seven Seas of Rhye). Then again, most people are expected to know the words going in. I don’t recall having these problems when sitting in the centre, but I also didn’t note anything in the prior review so it’s hard to remember.
In short? We Will Rock You is still a fun night out for Queen fans and tourists and well worth a visit to say you’ve gone. The design aspects are still impressive, and the cast work their butts off. And dude. It’s Queen.
Where: Dominion Theatre
When: Open Run. Check listings for times.
Cost: £27.50-£60
Concessions: £20 student tickets, best left when the BO opens; £13.50 SRO when otherwise sold out
----
RZ unofficial “worth paying”: £35. Half price plus fees. It’s a very good show but a standing O pay full price no matter what show? I’m still not convinced, especially with how much better the book could be.
RZ other notes: There are a lot of tourists and “not often at the theatre” types here. They liked to go to the loo during the show. Very annoying.
Showing posts with label Tourist Show. Show all posts
Showing posts with label Tourist Show. Show all posts
Friday, 24 July 2009
Friday, 29 February 2008
REVIEW: "Jersey Boys"
Oh Jersey Boys. You made this cynical musical fan admit that jukebox shows could be decent when he first saw you back in 2006, but that was a world of mindset away. Now, in your newer, bigger London home, you seem... different... somehow.
The script is still the same, American humour and all, and perhaps part of the issue is the obviousness of the foreign tourists laughing at the jokes when the locals are oddly silent (minus, of course, the Ringo joke at the end) or dealing with a theatre that holds 600 people more than in New York. Perhaps it’s the feeling of being in on the gig as the audience stumbles for the first time through Act One, still maintaining an old locomotive’s slow yet steady acceleration, and then watching as they facepalm one after another as the crowd begin to recognise the songs and make the association with the band whose name nobody can remember and whose material none shall ever forget.
Seriously, though, Jersey Boys has made it across the Atlantic with few hitches and speed bumps, and while it’s not a sellout - yet - the producers are counting on word of mouth to make this show a hit, and if last night’s first preview crowd is anything to go by, a hit they shall have. While some of the material hasn’t translated (and may be subject to change during previews - nothing was altered for this first performance), the core story of rags to riches, brotherhood, and the trials and tribulations of fame is universal. So are the songs, catchy as ever and more lush than when done live originally, thanks to the joys of pit singers and expanded arrangements. Des McAnuff’s kinetic Dreamgirls-inspired staging is still as fresh and energetic as it was in 2005, and the punters up front were more than happy to join the party, dancing along to the final number and singing along during the encore.
Of course, the heart and soul of any transfer is the cast. While Ryan Molloy is slightly more nasal and lacks the power John Lloyd Young did on Broadway, he’ll certainly grow into the role with time, and as he is starting with a six show week, is less likely to destroy his voice doing it. Glenn Carter is a pushy Tommy DeVito, but his accent needs work and he (like the production in general) lacks the edge and confidence of his American counterparts. Rounding out the group, however, are two solid and likely to be underappreciated performers: Philip Bulcock as the quiet Nick Massi, and Stephen Ashfield as the boyish, brainy Bob Gaudio (whose real life counterpart is in town supervising previews). The ensemble are already up to a solid, engaging level, but can still benefit from notes and refinements during the preview period.
Barring any unforeseen difficulties, Jersey Boys will undoubtedly be giving a sharp, exacting performance in time for the March 18 press night. In some ways, the RZ is thrilled: the American musical is riding high and reminding the West End that well crafted entertainment is still out there, but in others is depressed, wondering when a worthy new production will sprout domestically from the UK. In the meantime, keep the imports coming until one does.
Where: Prince Edward Theatre
When: M-Sa @ 19:30, Tu/Sa @ 14:30
How Much: £20-£40 through 18 Mar., £32.50-£60 after
Concessions: Students can get 50% off 60 min. prior and subject to availability (read: when it’s not well sold). Restricted view seats in the upper circle are £20 including some in the first few rows (yay for safety bars).
-----------------------------
RZ Unofficial “Worth Paying”: £42.50
RZ Other Notes: This is a hard one to assign the value to. On the one hand, it’s a smartly presented, well constructed crowd pleaser and every musical fan should see it once. On the other hand, Hairspray will stick with you longer and provide a more satisfying overall experience. If you’re British, the value listed is probably accurate - some of the material clearly went over peoples’ heads (perhaps they should watch The Sopranos more?). On the other hand, American tourists may find it well worth the full £60 just because it buys a decent seat, whereas a ticket of equal value in New York will set you back £175+ as a premium and £60 gets you a restricted side view or chopped off rear seat. Then again, the US tour almost certainly provides a better overall value with lower prices than either production and a reportedly excellent cast.
Continuing on the UK vs. US theme, the question raised in the RZ’s classroom, on the message boards, and in the minds of the producers really is whether or not the British public will take to the show enough to keep it running in the barn that is the Prince Edward. After going to last night’s preview, the RZ still isn’t sure, but is leaning towards the positive side: if word of mouth can get people to give in and buy tickets over the next three months, the show will be a hit and if the advance stays up for six months, will definitely stay put. On the other hand, if ticket sales are respectable but not mind blowing, the RZ could see Jersey Boys transferring to the Novello as the message boards predict, as it may maintain a healthy extended run in a smaller house (building the hype of a harder to get ticket as a result) while, say, Oliver comes in from TV casting to take the Prince Edward.
While the public will probably be converted to this show’s cause, the RZ is doubtful that the London critics will be equally entranced. Jersey Boys is well written and entertaining, but lacks the depth and layers that Billington, Spencer, de Jongh, etc. seem to require from anything that goes near a stage. While the local critics lack the power they do in New York, they are undoubtedly more demanding. The RZ also suspects that comparisons to Buddy, the biopic musical about legendary rocker Buddy Holly, will be unavoidable in the press.
The script is still the same, American humour and all, and perhaps part of the issue is the obviousness of the foreign tourists laughing at the jokes when the locals are oddly silent (minus, of course, the Ringo joke at the end) or dealing with a theatre that holds 600 people more than in New York. Perhaps it’s the feeling of being in on the gig as the audience stumbles for the first time through Act One, still maintaining an old locomotive’s slow yet steady acceleration, and then watching as they facepalm one after another as the crowd begin to recognise the songs and make the association with the band whose name nobody can remember and whose material none shall ever forget.
Seriously, though, Jersey Boys has made it across the Atlantic with few hitches and speed bumps, and while it’s not a sellout - yet - the producers are counting on word of mouth to make this show a hit, and if last night’s first preview crowd is anything to go by, a hit they shall have. While some of the material hasn’t translated (and may be subject to change during previews - nothing was altered for this first performance), the core story of rags to riches, brotherhood, and the trials and tribulations of fame is universal. So are the songs, catchy as ever and more lush than when done live originally, thanks to the joys of pit singers and expanded arrangements. Des McAnuff’s kinetic Dreamgirls-inspired staging is still as fresh and energetic as it was in 2005, and the punters up front were more than happy to join the party, dancing along to the final number and singing along during the encore.
Of course, the heart and soul of any transfer is the cast. While Ryan Molloy is slightly more nasal and lacks the power John Lloyd Young did on Broadway, he’ll certainly grow into the role with time, and as he is starting with a six show week, is less likely to destroy his voice doing it. Glenn Carter is a pushy Tommy DeVito, but his accent needs work and he (like the production in general) lacks the edge and confidence of his American counterparts. Rounding out the group, however, are two solid and likely to be underappreciated performers: Philip Bulcock as the quiet Nick Massi, and Stephen Ashfield as the boyish, brainy Bob Gaudio (whose real life counterpart is in town supervising previews). The ensemble are already up to a solid, engaging level, but can still benefit from notes and refinements during the preview period.
Barring any unforeseen difficulties, Jersey Boys will undoubtedly be giving a sharp, exacting performance in time for the March 18 press night. In some ways, the RZ is thrilled: the American musical is riding high and reminding the West End that well crafted entertainment is still out there, but in others is depressed, wondering when a worthy new production will sprout domestically from the UK. In the meantime, keep the imports coming until one does.
Where: Prince Edward Theatre
When: M-Sa @ 19:30, Tu/Sa @ 14:30
How Much: £20-£40 through 18 Mar., £32.50-£60 after
Concessions: Students can get 50% off 60 min. prior and subject to availability (read: when it’s not well sold). Restricted view seats in the upper circle are £20 including some in the first few rows (yay for safety bars).
-----------------------------
RZ Unofficial “Worth Paying”: £42.50
RZ Other Notes: This is a hard one to assign the value to. On the one hand, it’s a smartly presented, well constructed crowd pleaser and every musical fan should see it once. On the other hand, Hairspray will stick with you longer and provide a more satisfying overall experience. If you’re British, the value listed is probably accurate - some of the material clearly went over peoples’ heads (perhaps they should watch The Sopranos more?). On the other hand, American tourists may find it well worth the full £60 just because it buys a decent seat, whereas a ticket of equal value in New York will set you back £175+ as a premium and £60 gets you a restricted side view or chopped off rear seat. Then again, the US tour almost certainly provides a better overall value with lower prices than either production and a reportedly excellent cast.
Continuing on the UK vs. US theme, the question raised in the RZ’s classroom, on the message boards, and in the minds of the producers really is whether or not the British public will take to the show enough to keep it running in the barn that is the Prince Edward. After going to last night’s preview, the RZ still isn’t sure, but is leaning towards the positive side: if word of mouth can get people to give in and buy tickets over the next three months, the show will be a hit and if the advance stays up for six months, will definitely stay put. On the other hand, if ticket sales are respectable but not mind blowing, the RZ could see Jersey Boys transferring to the Novello as the message boards predict, as it may maintain a healthy extended run in a smaller house (building the hype of a harder to get ticket as a result) while, say, Oliver comes in from TV casting to take the Prince Edward.
While the public will probably be converted to this show’s cause, the RZ is doubtful that the London critics will be equally entranced. Jersey Boys is well written and entertaining, but lacks the depth and layers that Billington, Spencer, de Jongh, etc. seem to require from anything that goes near a stage. While the local critics lack the power they do in New York, they are undoubtedly more demanding. The RZ also suspects that comparisons to Buddy, the biopic musical about legendary rocker Buddy Holly, will be unavoidable in the press.
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