To me, his Javert was bad-tempered, shouting on too many occasions; I would personally like to see a Javert, who also has a sufficient number of subtle, controlled moments.
Only just read you review Elbow, but really loved it! Thank you very much for taking the trouble to write it - you express yourself so well.
Thu Nov 17, 2011 2:22 pm
jdeng
Off-Broadway Lead
Joined: Fri Sep 19, 2008 3:39 pm Posts: 239
Re: London Cast 2011/2012
Last night, I watched Ramin's first performance of his 3-month run as Valjean. His acting was virtually perfect and singing was slightly behind [he had a few weak high notes such as in Who Am I's 2460 Ooone, and in "how soon they fly one by one" in Bring Him Home; bad cold November weather to blame?!].
Fraser's grip on Javert improved a lot from what I saw about two months ago. He was no longer angry and screaming all the times, and his chemistry with Ramin was really enjoyable to watch. His vocal was brilliant yesterday.
Cameron-Leanne [? u/s]'s baddy couple was vicious, treacherous and well-timed funny.
Alexia's voice made virtually no mistakes as usual, but unfortunately as last time [or as usual as someone else mention the following as well], her repeated hand-arm movement was still a bit too much, particularly in On My Own. Though, a very good rendition of ALFOR with Craig.
The orchestration sounded different from that I heard in early October, but I am not the Quique, thus, not 100% sure, and thinking it is usually kept unchanged during one production.
Notified last Thursday that a group of friends visiting London had just got Tuesday night free to watch the show, I had to buy the premium tickets in the dress circle as no other good tickets left to allow us to sit together. But the seating was a bit too far from the stage. If I had a choice next time and even if I had won a lottery, I would certainly buy a close-to-stage stall seat for watching actors’ facial expression more clearly.
Joined: Sun Mar 28, 2004 6:17 am Posts: 4004 Location: Bitterville
Current Obsession: MUSIC in MUSICals
Main Role: Fan
Re: London Cast 2011/2012
Ramin looks great as Valjean!
The description is misleading in claiming the video features the 2012 cast and obviously just spliced shots of Ramin and the current Enjolras along with footage of the 2010 (or is it 2009) cast. But I love the montage nonetheless. Hate the overly bright, celebratory orchs, as usual.
_________________ *Dis Jus In! People can be condescending on the internet.
Sun Jan 29, 2012 8:44 am
riverdawn
Tony Winner
Joined: Thu Nov 26, 2009 8:22 am Posts: 410
Re: London Cast 2011/2012
Huh, what a strange amalgam of different casts...
_________________ A shiny vest is better than a shiny vampire.
Sun Jan 29, 2012 9:42 am
costerluver
Chorus Member
Joined: Thu Apr 07, 2011 11:35 pm Posts: 64
Re: London Cast 2011/2012
That was a horrible list. Nick Jonas and Gareth Gates were on it, but Michael Maguire, David Thaxton, Ruthie Henshall, Alun Armstrong, Anthony Warlow, John Owen Jones and COLM WILKINSON weren't. Need I say more?
Mon Jan 30, 2012 11:33 am
Quique
Broadway Legend / MdN Veteran
Joined: Sun Mar 28, 2004 6:17 am Posts: 4004 Location: Bitterville
Current Obsession: MUSIC in MUSICals
Main Role: Fan
Re: London Cast 2011/2012
I initially did a double-take too, but then I saw the listing is supposed to be one of prolific past cast members. It's obviously compiled by people not too knowledgeable of the show's history and more of a fan listing of recent performers. Not that that's wrong or bad, or anything.
I'll tell you what's baaaad.
The "honesty" thing that keeps getting repeated at everything with 25th anniversary attached to iiiiit. So every Marius before this guy Gareth should be ashamed for not breaking the mold that he shattered with his mighty portrayal so honest, so fresh.
Puh-leeeeeease.
_________________ *Dis Jus In! People can be condescending on the internet.
Mon Jan 30, 2012 10:36 pm
mastachen
Broadway Legend
Joined: Sun Jun 24, 2007 1:13 pm Posts: 1886
Re: London Cast 2011/2012
Did Lea Salonga really come back to play Eponine in 2003?
Tue Jan 31, 2012 8:38 pm
Vanessa20
Broadway Legend
Joined: Sat Sep 29, 2007 1:06 pm Posts: 800
Re: London Cast 2011/2012
I never heard of any such thing. I wonder if they're confusing her with Ma Anne Dionisio, who did play the role in the US Tour around that time, and who also happens to be Filipino and a notable Kim in "Miss Saigon"?
Tue Jan 31, 2012 9:05 pm
Quique
Broadway Legend / MdN Veteran
Joined: Sun Mar 28, 2004 6:17 am Posts: 4004 Location: Bitterville
Current Obsession: MUSIC in MUSICals
Main Role: Fan
Re: London Cast 2011/2012
Utter perfection.
And to think everything seen here in 2011 is exactly as it was way back in 1987. Even more remarkable is it looks and feels as if it just premiered last night. This version will always touch me like none other can.
The final few seconds trump any other attempt at this showstopping number ever. Trevor and Caird really made every element blend into another seamlessly but with a punch that is subtle yet incredibly powerful and effective.
And take a look at that irreplaceable stage image of Cosette and Valjean slowly rotating near the center of that marching triangle embracing each other, facing tomorrow with trepidation. The students marching down the streets of a city bracing for upheaval. And one of my favorite details that is like icing on the cake--those gigantic wooden beams seen right as the number comes to a close framing the entire stage and cast. dilapidated, slanted, barely supporting bearing the weight of a city full of corruption and crumbling infrastructure. A flag waves amidst a hazy orange glow in swirling fog. That picture, majestic, Les Miserables.
It speaks to me.
_________________ *Dis Jus In! People can be condescending on the internet.
Wed Feb 15, 2012 6:19 am
Eppie-Sue
Broadway Legend
Joined: Tue Jun 16, 2009 1:52 am Posts: 1517
Re: London Cast 2011/2012
Just thought I'd mention that DAVID SHANNON is coming in between April and June to play Valjean again.
Fri Feb 17, 2012 4:07 am
Quique
Broadway Legend / MdN Veteran
Joined: Sun Mar 28, 2004 6:17 am Posts: 4004 Location: Bitterville
Current Obsession: MUSIC in MUSICals
Main Role: Fan
Re: London Cast 2011/2012
There is a glitzy, over-the-top, spectacle lover in all of us.
No. Not referring to the Trevor and Caird production of Les Miserables. That honor goes to the new version thingo.
I say that because after posting the above ODM clip from London's Queen's, 2011, I watched a clip of the new thingo doing the same number and, as much as I want to kick myself in the mouth right now for saying this, at the time I thought most of it was pretty nifty on its own.
I always say the true test if something is any good is its effects in the long run. As a lover of this musical, it isn't too difficult to favor most everything related to it. That is, unless you're me, which doesn't mean I don't fall into or buy it; however, it does mean I eventually come to my senses and see through it. It took me many years to see through Phantom to the point I don't really enjoy it much anymore. When you love theatre for the whole package, right down to the function of a given direction or set piece, to the effectiveness of a lyric and an orchestration, some may call you "picky." I call it "interested." XD As in interested enough to find those things of some importance to the overall piece. And also I call it being in control, as in knowing why, how you like something and its effects on you. I was once that fan who loved musicals for the catchy melodies and for the fun of watching them unfold on stage. Absolutely nothing wrong with that at all and I don't look down upon people who judge stuff by how much they enjoy it. I do look down upon people who don't know why and how they enjoy something. Even then, it all depends. I will likely not think much of someone who casually claims to love something then can't explain why. No biggie. There are more important things in life.
But I usually feel like smacking those who make it a point to trash stuff/versions I like and make a big case out of why they suck, yet can't explain why their's is superior without using the old "it just is!!!" Or in the case of our dear producer, making things up and twisting the truth in order to sell tix.
That said, yes, I found the tour's ODM to be well staged and it did make quite a splash. The more I thought about it, the more a lot of the ideas used in staging it stood out to the point of distraction. Why can't they just come out and embrace like the comrades that they are as in the "old" version? Then I asked myself why I felt that was necessary. My response to that was "because it's a labor of love, NOT a self-indulgent display."
You see, I always get that feeling deep in your chest typical of when you feel you're about to cry when those students came out in the original and embraced but I don't actually end up crying. It's when something so beautiful, rich in meaning occurs and grabs you long enough to feel the initial emotion, then tapers off. The effect is just one of many that colors your ultimate perception of a song, a moment, a show.
In the original ODM, these young men and women are not posers. They don't rush out as in the new version and stand in WoW formation. These people are going to do something most of us are too chicken sh*t to even entertain in our minds. They are friends as well, and they are absolutely at peace with and elated in their resolve that eventually leads them down those streets to whip up further support. When that amber light fades in and they rush out with smiles and hug each other tightly, I see people who truly aren't afraid to die for their cause. It isn't a stoic half-hearted steppy thing as in the lackluster new version, it's a triumphant march towards what they truly believe is a new tomorrow.
Again, Nunn and Caird were clearly interested in telling this story, as every last aspect of their staging is geared toward that. Their ODM plays out cinematically--that stunning fade between the students and Javert being achieved effectively with light and slow motion is in itself ingenious. Nothing ever becomes distracting, NOTHING is there on display in self-indulgent fashion, NONE of the set movement, lights, or blocking is for the purpose of creating empty WoW effects. ALL have a clear function that serves the story and fills it with rich detail. This is why the cast need only march in place at the conclusion of the number and achieve so much more than some silly weaving action can ever achieve. The new thingo would've been so much better had they not tried to be so different and went with the in-place marching seen on the Tony Awards.
That's just a 15 second moment that I just wrote about. Jesus Christ, I'd never finish a complete explanation as to how and why every last moment of the show touches me. But for now, I will continue holding onto the assertion that the original Nunn and Caird version is a masterpiece and the new thingo can only hope to ride on its success.
And again...Les Miserables:
_________________ *Dis Jus In! People can be condescending on the internet.
Users browsing this forum: No registered users and 1 guest
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum
