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| The choices made | |
| Posted by: peter3053 05:30 pm EST 02/15/22 | |
| In reply to: re: Video of the “Company” opening number (current production). - JereNYC 03:17 pm EST 02/15/22 | |
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| Having looked at this very fine ensemble of actors in the video, I am left wondering if the original theater in London was very small - why is everything so boxed in? I have seen clips of the set boxes, but that's not what I mean. The build in the number suggests expansiveness of staging towards the end (didn't the original in 1970 use an elevator as a surprise and got the actors down onto the open stage for the final section?). Also, why did they start so inert, like statues - and then why did they come alive when they did? Does a full stage picture from the audience make the motivations clearer? Some of the choices seem unusual. |
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| re: The choices made | |
| Last Edit: Chazwaza 08:12 pm EST 02/15/22 | |
| Posted by: Chazwaza 08:08 pm EST 02/15/22 | |
| In reply to: The choices made - peter3053 05:30 pm EST 02/15/22 | |
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| I saw it on the West End... the theater was not small at all. Felt like a standard broadway sized theater. Possibly on the smaller side of broadway but no, nothing to explain the awkward and lazy staging here. (And even if it had been, what is the excuse for not re-staging it for a new theater on Broadway?) | |
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| It was at the Gielgud. | |
| Posted by: portenopete 06:51 pm EST 02/15/22 | |
| In reply to: The choices made - peter3053 05:30 pm EST 02/15/22 | |
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| I saw it at the Gielgud, which has 986 seats in the traditional West End configuration of stalls, dress circle and balcony. I saw it from the back half of the stalls behind the overhang line (which is usually much closer to the stage than in Broadway theatres). The Gielgud is not usually occupied by musicals but it is still a large theatre and the point of the design seemed to be to create airless and suffocating spaces for the ensemble to surround Bobbie. I didn't love it in London (I saw it late in previews) but I enjoyed it more than any clip I've seen of the New York iteration. I don't really think the concept makes much sense of the original idea of the show (one man's inability to connect emotionally with a lover) ad it turns into a show about a woman who is worried about getting too old to have a baby (at least that's what I took away from it). But what this clip is putting on display is pretty much unwatchable. And while Rosalie Craig didn't wow me, she was miles ahead of what I'm hearing from Katrina Link (whom I loved in The Band's Visit). And I can't imagine anyone bettering Bridgerton's Jonny Bailey singing "Getting married today", which was the undoubted show stopper. |
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| re: It was at the Gielgud. | |
| Posted by: Singapore/Fling 08:30 pm EST 02/15/22 | |
| In reply to: It was at the Gielgud. - portenopete 06:51 pm EST 02/15/22 | |
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| Matt Doyle is pretty incredible in "Getting Married Today". I thought this production largely works when they're in their boxes, and loses its way when they leave the boxes - this number captures both aspects of that. I do think that Lenk has gotten stronger in the show since this was filmed, though she remains miscast. |
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| re: It was at the Gielgud. | |
| Posted by: lonlad 09:40 am EST 02/17/22 | |
| In reply to: re: It was at the Gielgud. - Singapore/Fling 08:30 pm EST 02/15/22 | |
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| Except that Bailey is SO much more impish and sexier and fun to watch. And Rosalie, whom I saw four times, got better and better and emerged a total knockout: a genuine Everywoman which in a way is what the subject requires. This is not a musical version of SEX AND THE CITY (thank God). | |
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