February 2010 reviews - London

[burtond]

Wednesday 3rd February 2010 – UK London

Billy – Ollie
Michael – Connor
Debbie – Francesca

This will be a difficult review for me but I would like to tell it as I saw it. Tonights performance felt very similar to the 5th January performance for me (see posting in January reviews) – generally tired, slow pace, lacking energy and subdued ensemble singing – there was just something missing from my point of view.

Don’t get me wrong, there were also many positive and effective sequences and I do want to praise all the main characters, particularly the children because I know how much effort they each put into the production working tirelessly on stage to ensure that patrons have as enjoyable and entertaining experience as possible. I would also add that all of the first timers I spoke to during the interval, after the show and on the tube could only offer words of praise and disbelief that the child stars had the sort of abilities and talents that they had just experienced – all were extremely impressed including a lovely family of Amercians sat immediately behind me.

It dawned on me during the second half what was different - For whatever reason, the sound levels were well down and this affected the dialogue, the singing in the musical numbers and the amplification of the band. Yet again there were instances where important lines of dialogue went unheard because personal mic’s were not activated at the correct time. It explains why the ensemble singing sounded subdued and it definitely accounted for the fact that the band sounded soft, (sometimes inaudible) and sparse. It goes to show how important the Sound Engineer is at the performance and reminds us all that this is a role that when watching the performance, we simply take for granted.

There were real problems with ’Electricity’ this evening. At the very start of the number, Matt Malone was talking urgently down a mic (addressing the band) and on the telephone (to the sound engineers and others). It appeared that Dean's Electricity sequence was being used and not Ollie’s – this is really only apparent at the very end of the number when sequences of piano semiquavers designed to highlight a number of ballet turns before the final standard bars of music introduce the end flourish. Of course, Ollie had completed his performance including his final flip over against the board but the music continued to play on – Bless him, he improvised more ballet turns as the sequence played out but the wonderful climax of the piece came early and in a way, the moment had gone. Thankfully, the audience were very supportive and Ollie received rapturous applause and verbal shouts of praise which were quite rightly due.

Well that is how it was for me. I'm sure the problems will be rectified for my next visit on Monday evening next week.

[andrewcraig]

There were real problems with ’Electricity’ this evening. Dean's Electricity sequence was being used and not Ollie’s – this is really only apparent at the very end of the number when sequences of piano semiquavers designed to highlight a number of ballet turns before the final standard bars of music introduce the end flourish. Of course, Ollie had completed his .

I am quite confused, are you suggesting that the music for Electricity is precorded as is Swan Lake? You might know who Matt Malone is but I dont and this does not make sense. If Matt is not the conductor, not only who is he but where was he standing that you could here him?

[ERinVA]

Matt Malone is the Musical Director who was on duty. I think that Electricity in London is a combination of recording and live instrumentation. I believe it uses what is called a "click track," and that would be where the error occurred.

If you sit in Stalls House Left row B near the center aisle, you are very close to the conductor's box, and if you sit in row A near the aisle on House Right, you are practically in the box with him.

[andrewcraig]

Matt Malone is the Musical Director who was on duty. I think that Electricity in London is a combination of recording and live instrumentation. I believe it uses what is called a "click track," and that would be where the error occurred.

If you sit in Stalls House Left row B near the center aisle, you are very close to the conductor's box, and if you sit in row A near the aisle on House Right, you are practically in the box with him.

Thanks ErinVA thats fascinating I had never heard of that. I did ask the question if there was a second voice {recorded} as at times it seemed to be two people singing. What are the reason that a click track is used on BETM or any musical?

[ERinVA]

You hear three women singing backup during "Electricity." In NY, the singing is done live in a sound booth under the stage, but I don't know how it is done in London. The reason for it being live in NY has to do with union rules, I believe. In one of his "Working Class Hero" videos, Greg shows the women performing during "Electricity." If you are interested, you can find those videos here: http://www.broadway.com/shows/billy-elliot/videos/

[alexandre]

Rounding off with Dean and Fox: Sat 30th Jan and Mon 1st Feb

Finally back in humid Oz, it seems I've brought the rain. Twas a most enjoyable trip, saw a solid quota of BETM and half a dozen other shows. Still catching up on sleep after the draining flight home (how can anyone under 40 sleep sitting up in a chair?), so just a series of dot points.

I'm struck by how good the acting by the boys is over there, Dean is no exception, a highlight is his looks of horror at Mrs. W at the start of Born to Boogie. It’s a credit to the resident director that even the little things are worked through like the Billy’s reactions in Grandma’s Song. As mentioned above, intelligent bit of ad lib in Expressing Yourself by Dean, must’ve been a bit distracting carrying the bag through the whole dance number. Only eight ballet girls took to Shine in one of the shows, it looked uneven but was covered well. George is a top Michael, the gobful he gives “Kevin” in Stars Look Down is unique. The top banana music director was back and the sound did seem richer for his presence.


Further things in UK show liked less:
** Not seeing Tom Holland , hurry back soon!
** No full cast board. Don’t know who the Tall/Small boys are and only late found out where the understudies are posted. Btw, the tow headed small boy is really good
** No “pork pie”
** Yes, again, Billy is too camp in Expressing Yourself. Also, not using real polaroid film and having the same picture used every time instead. Two photos got “developed” in one show I saw.
** No light globes around the mirror
** Not having the barre or other props in Born to Boogie. This is minor as it still works alright and the Mr. B is quite a proficient dancer!
** Less edgier music in street Electricity.
** Drink prices too high
** Bag searches at every theatre, oh the modern world.
** No stage door action. On the Thursday I saw Fox get mobbed by heaps of girls at the front of the theatre which was sweet, pity none of the other boys have the same opportunity. A shame it’s come to this.
** Extravagant music director. Is he auditioning to be a sign language man on the early morning “4 music” channel? Distracting and unnecessary when compared to the other two chaps.

Further things in the UK show liked more:
** The energy and spirit each of the lads shows, not just in the dancing scenes but even in those where Billy is not the focus. They all seem to have such a natural joie de vivre.
** The black curtain falling on small boy
** Pause after: “smile, Smile, SMILE!”
** Pause after the chaines in Solidarity
** Clear line delivery by the Debbies.
** How Billy looks so unsure of himself before the Newcastle audition (just before he hugs Mrs. W)
** All the sweeter interactions with Billy and Mrs. W inc. her admiration and astonishment at Billy’s talent in Solidarity and the was Joanna plays the final goodbye scene.
** Crescendo in Angry Dance. It’s still not the Aus version but I’ve grown to like it more.
** Accentuating Billy’s tired breaths after the Dream Ballet
** More of Tony in He Could Be A Star
** Again, the whole audition sequence. Such a classic in particular the fey sound technician. Why they didn’t put it in here, I dunno. Too long? Too much extra set? No one would know what a cassette was anymore?
** Edgier music in ballet Electricity.
** How Billy looks left and right down at the audience during the song. I think they got told not to do that here because it happened less nearer the end.
** The wall flip
** The endearing way the street version ends with Billy breaking character a bit, smiling and turning to the audience. Magic!
** The way David says “Get back down, he’s coming”
** Tony spinning Billy around after finding out his acceptance at the RBS. Not enough joy was shown in the Oz version, I thought.
** Again, the Finale sequence. Faster music? The little hand clapping thing Billy does with a miner. And the final flips are terrific
** Learning 2 new words: “to chin” and “bladdered”
** The responsiveness of theatre audiences and their greater willingness to give standing ovations.
** Ollie on Thursday 28th Jan, matinee. Superb.

** The city of London!!! Plenty more shows I’d like to see plus barely made it to half of the museums/galleries I wanted to visit and only saw about half of those I did make it to.

Can not wait to get back!

[alexandre]

look at the flirty way she interacts with the many men on stage. I bet, in her earlier years, she was a bit of a ‘goer’, she could certainly drink and she definitely knew how to enjoy herself.

Well I thought they were all playing the same character, grandad. But I don't mind that interpretation

Ooo, and another good thing is the "hall of fame" page in the program, a very nice touch.

[burtond]

I am quite confused, are you suggesting that the music for Electricity is precorded as is Swan Lake? You might know who Matt Malone is but I dont and this does not make sense. If Matt is not the conductor, not only who is he but where was he standing that you could here him?

Sorry andrewcraig for the confusion. Matt was the conductor yesterday evening and I was sat in B19 very close (a couple of feet only) to the conductors box. I wasn't suggesting that Electricity is prerecorded and, unlike other postings, I am not even aware that it uses a click track at any point in this musical number. I am suggesting however that there are different versions of the music used in Electricity dependent upon which Billy is performing that evening. Yesterday evening, it seemed to me like the wrong version was being played and I expressed a view that in my opinion, it was Dean Charles Chapman's version of Electricity and not the Ollie version that the band had and played.

I would add that the review (which I appreciate is controversial) is only a view and a personal one at that. It is written without any authority whatsoever.

[pinknick103]

Poor Ollie - imagine doing a big number like that and all the way through knowing that something was wrong. Sounds like he did a fab job of improvising at the end.
The Electricitys are very different for ballet/street versions and I cant imagine the street electricity to ballet music.
Nevertheless - sounds like Ollie did a fab job. Well done. I cant wait to see Ollie again. I havn't managed to catch him since July xxx

[ERinVA]

I wasn't suggesting that Electricity is prerecorded and, unlike other postings, I am not even aware that it uses a click track at any point in this musical number.

I just want to say that I suggested that a click track is used because of your reference to the sound technicians, burtond, but on second thought, I don't believe that one is used in "Electricity."