why ASPECTS OF LOVE is closing early in the West End | Andrew Lloyd Webber musical ending London run
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OHMYGOD HEY!
Yesterday brought the shocking news that the West End revival of ASPECTS OF LOVE would close earlier than originally planned.
The show, which features a score by Andrew Lloyd Webber, Charles Hart and Don Black, currently stars Michael Ball, Laura Pitt-Pulford, Jamie Bogyo, and Danielle de Niese.
Check out today's news video to find out why this might be happening and what it means for the show, the West End and Sir Andrew Lloyd Webber...
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Andrew Lloyd Webber does carry a lot of the undue criticism... but then he also carries a lot of the undue praise. He is the composer - the melodies are his work. And sometimes he is producer - but he is not the Director, lyricist, orchestrator, designer, advertiser.... He puts himself front and centre taking the success, so I don't have issue with him getting the credit for the flops too!
A lot of the time he uses a proxy director, someone he can control (Lawrence O'Connor I'm looking at you) which is wrong because he has a very limited understanding of dramaturgy. Kent seemed to have taken this job as a paycheck because. But as wonderful as he still is as a composer (his music was the only good part of Bad Cinderella) he always finds collaborators who are less famous or powerful than he. His control issues hurt his chances of a hit (his only real recent hit was a film to stage adaptation which had a built in base and a very sound bookwriter just as famous as he (and O'Connor couldn't kill it, though he tried).
Those who wanted to see Michael Ball return to a play that made his name, but with him playing an older role.... went to see him as Javert In Les Mis in 2019.
Old-guard theatre person here, American, but spent more time in London theatres than I readily admit. (Hint: I paid 5 pounds to see the original cast of "Les Miserables" and I was not a child at the time.) I just want to say that as a reviewer and critic, you're the real deal, you know your stuff, and I trust your opinions over just about any other source. I remember being in London the week before “Phantom” went into previews, and the word on the street was that it was not going well. Oh, my God, the glee that news brought to the theatre community! The British desire to see ALW fail made people giddy! I've been to London many, many times since, of course, and for some reason that attitude has prevailed. But you look at the bigger picture and give a much more thoughtful approach to a show closing early, exploring all the ramifications - not a view I'd have considered when I was 26. Bravo, sir.
I don’t think state of theatre industry is necessarily the factor here. I think the creepy story line is keeping people away despite ALW’s reputation, Michael Ball’s fame, and well known song.
It was simple enough to correct. The young girl could have admired/had a crush on the relative. He could have responded that he loved her platonically but she would find her true love. Problem solved
I have other tweaks for the script that could improve it but too long to post here. Good music and can be saved
Nonsense. Nothing creepy about the storyline at all. A very fine show indeed. Audiences of today just cannot appreciate quality as much as they used to. Why? Because they are more stupid and have a worse taste in general. And the story is just not conventional and simple enough. And the ending is brave and very true to life.
The only good thing about this revival was Mickey Jo’s plot recap which was most enjoyable!
lord lloyd webbers first battle was with the orchestras. he lost that one. he thought that you could have one person playing all the instruments out of a keyboard. musicians unions did not agree with him and threatened strike action on all musicals including his own so he had to drop that
The fact that the drums in Phantom of the Opera are still, after all this time and even in the film adaptation, a *casio keyboard sounding drum machine* drives me around the bend
It's never nice to see a show close early, my thoughts go to the cast and crew. However this didn't come as a surprise to me.
The Come from Away part SPEAKS TO MY SOUL. It’s my favourite musical and trying to get people to join me for the tour includes trying to explain it to confused in-laws and friends. So nice to see it put into words by my fave ✨💛💙
This is where I wonder why more pro shots aren’t available to stream. I think a great way for a show to recoup its losses would be to stream a pro shot. I would be thrilled to pay to see the shows that I will never get to see because I live in an area that only gets touring companies. I know that there will be a lot to consider in terms of union contracts, and such, but I wish they would figure this out. I will 100% admit that Aspect of Love is problematic, but the show is a favorite of my teenage years, and I would happily pay money to see Michael Ball play Uncle George, even on the small screen. Until then, I will be on the lookout for a slime tutorial.
This is something I've wondered about for a long time. Wouldn't it make financial sense for all involved if the show's life was extended - whether by streaming a pro shot, or filming a one-off performance like many artists film their concerts, or even just a sung thru concert for a DVD? I know that the contractual & legal issues would be complicated, but it can be (and has been) done. There are multiple DVDs of Les Mis, Rent & other shows, I don't see why this can't become standard practice. There are thousands of theater fans who'd be thrilled to have access to shows this way.
I think you significantly undersetimate the cost of professionally filming a show, and overestimate the number of people who would pay to watch it. It's not like you can just put a camcorder in the circle and call it a day.
@@binyisyis I know it's very expensive to film any kind of production, but isn't it more expensive to mount a production & then see it vanish, maybe forever? If there's a pro shot why can't it be promoted to the public? I believe with proper marketing the costs of filming could be recouped fairly easily. The contractual costs involved with unions & talent rights are another story., but could be worked out.
However, I believe you underestimate the market for theater - especially musical theater . Beyond individual purchases & streaming services, some shows could be shown in movie theaters. on a limited basis. (This has already been done.) There's also a world of opportunity to build future audiences & theater professionals if shows are somehow available for viewing in schools for kids who might never see live theater.
Live theater is struggling. Maybe it's time to investigate options.
I'm with you on this. I probably wouldn't bother seeing something like this live, but would happily watch it from the comfort of home for a low price with lower expectations.
I totally agree. Pro shots can also be a great way to get people interested in a show. For example, I had no real interest in seeing Heathers until I saw the pro shot. Now it is a favourite musical for my wife and I. We have seen it both in London and on tour, something we certainly wouldn't have done had the pro-shot never been released.
I’m sure this is going to be unpopular, but I do think people are just outgrowing ALW’s schtick. He doesn’t seem willing to grow or evolve.
Nothing he’s created in the last many years has been extraordinary or even particularly impactful, and I think as younger generations come into their own, they’re no longer willing to pay for the sorts of things he’s known for.
There’s also something to be said for his well-known political stances, even beyond the way the cast of Cinderella (and now Aspects of Love) have been treated. I’m deeply sorry for the cast and crew who are being impacted by it, though.
Hear, hear! If he’d either been willing to let someone else take the creative lead on Cinderella-someone younger and less frankly misogynist-we might have gotten a fun, playful, feel-good show, or even a far more interesting failure. He doesn’t seem to want to aim for anything less than a mega-hit and he’s not interested in revising his material even when it’s not working.
If I were a theatrical director I would immediately be pitching a revival of Amadeus in modern dress where Salieri is obviously ALW and Mozart is obviously Sondheim. Which is probably why I am not a theatrical director.
@@bigjedimullet I would be willing to see that revival, 100%.
ALW's style thrived in the gaudiness of the 80s and he's be struggling since, with I guess the exception of Sunset Boulevard which even then I don't know how many people would call that their *favourite* ALW show.
As someone born in the 70s I am admittedly biased towards ALW having done his best work with Tim Rice when he was young and hadn’t yet bought into his own hype. Evita, JCS and the pre-Broadway version of Joseph are in my opinion his best work.
In my opinion, ALW needs to retire; both from broadway and the West End. There needs to be more young, diverse artists, and older artists like ALW need to make space for young up starting artists, like myself. I know that no matter how many industry veterans leave, this business/industry will always be one of the most competitive industries to break through. Especially for little shows, with very little word of mouth. And I love those “little shows that could” like Come From Away, where it wasn’t expecting to get off the ground, but it did, and that give me hope as a young theatre maker. If more shows end up like CFA, the theatre industry will have much more diverse shows to pick from, from more diverse creators. Which is what we need in the 20th century.
Agreed - ALW has produced some brilliant works in his time like Phantom of the Opera but he needs to accept his time is done. It's time for a next generation of artists to spread their wings.
21st century, lovely friend, but yes, totally agree. And I hope you'll have every success in your career - would love to see your shows on tour! (As I live outside the UK)
I just really think they thought it could get by on recognition alone between: known musical, ALW, and Michael Ball. The storyline, as you said, is incredibly dated and doesn't work at all anymore, not to mention it's just so all over the place and convoluted that it doesn't work in that regard either. Also they reaaaaally wanted Michael Ball to reprise his role singing "Loves Changes Everything." I get it, he sang it and it was HIS career defining song, but that would be a bit like casting Barbra Streisand as Lea Michele's mom and then giving her "Rain On My Parade." It just wouldn't work with the already shaky storyline.
LOVE the translation of ‘it was… interesting’ because you’re so right. If it was good, we would say so: ‘it was exciting! Funny! The songs were incredible! It was amazing!’ It was ‘…interesting’ is damning and absolutely British.
I had a look a few days ago and its shocking just how much the show was underselling, around half the seats were still available for the performance the next day :/
Perhaps MT audiences have moved on from the ALW style musicals.There's so many new and innovative musicals coming out on both sides of the Atlantic these days often appealing to a younger and less "traditional" musical audience.
I can certainly agree with that!
I agree with you about theatergoers moving on from Andrew Lloyd Webber. However, the most innovative musical currently on Broadway, is the “Sweeney Todd” revival. Which is older than virtually every Andrew Lloyd Webber musical. It actually displays the lack of innovation and uniqueness in musical theater. When a 45-yo musical is drawing in the young and diverse crowd, the current composers and producers are doing their jobs wrong. Virtually every new show on Broadway is a financial flop, or just does not resonate with audiences.
I'm something of an Aspects defender, and yet this doesn't remotely surprise me for... so many reasons. Just not the right show to hope for anything but a very limited run on the West End right now.
I enjoyed the first cast recording and I didn't have to deal with the plot. Concert versions are easier to digest.
No comment on this particular production of AOL, but the show itself is, IMHO is a bigger dumpster fire than Bad Cinderella. I thought that years ago when it was originally produced, and even less with the "tweaks" to Love Changes Everything, the only good song in the show. I adore Michael Ball, but there are so many better vehicles for him at this age.
“Other Pleasures” is by far the best song in the show IMO
@@schrire39 Yes -- that's a very good one! My favorite is "There is More to Love". "Love Changes Everything" is iconic and a great guilty-pleasure song, but it's one of the worst songs in the show, aside from the circus music. (Not counting outside-circus "Falling", of course, which is my other favorite part of the show.)
The original Aspects opened to a big advance due to it being the follow up to Phantom and people didn't want to be caught out so it didn't really matter what the subject matter was.Also I think the MT audience now are generally much younger than then and pay more attention to SM and would find the storyline "icky" which I think was never a concern when it first opened and older audiences paid more attention to critics.And of course the price of tickets!
There was an Off Wrst End revival of Aspects at the Southwark Playhouse a few years ago (pre Covid).
It really worked in the small space, audience of approx 250-300, played in the round.
Originally got tickets for opening night but had to change them when they delayed the opening by 1 day . Luckily , we've re-booked for 15/08.
Love your theatre reviews. I saw this show recently with Dave Willetts as George (when I bought my tix there was no indication that Michael Ball wasn't doing Mondays). I saw the original on Broadway (miss Ann Crumb who was fabulous) and wanted to hear George's songs sung by a great singer as his numbers back then were performed Rex Harrison-like. Willetts did not disappoint. You are right that some of us enjoy the show for the score. I appreciated how this production moved quickly and scene changes were fluid and fast. But for me, I just didn't feel the Alex character. When Michael Ball originally did this show, there was a charisma with Alex. You could see him being swept into these intense relationships. I didn't feel that in this production. But I still enjoyed the show and will always love the songs, especially the sentiments of Hand Me The Wine And The Dice...
If death were given a voice,
That voice would scream through the sky: Live while you may for I am coming
One thing that always caught my eye in every clip about this recent production - the guy playing Alex always looked that he just didn't care. No enthusiasm, no passion.
Alex was poor unfortunately. He was better in the second half when we saw it.
Funny thing that a friend of mine and I were looking into watching a regional production of Aspects of Love, but didn’t because of time restraints.
Back in the day, we referred to Aspects of Love as the child abuse musical (yes, I know Gypsy was also referred to that way, but for whole different reasons). Incest. Child love. Confusing. Interesting? Can we just be upfront? It's just not a good show. Repeating the title song hundreds of time. Just not a good show and never was.
To be fair, back in the day, it did run 3 years (in the West End anyway.)
I’m interested in your thoughts about whether this and Bleak Expectations would have worked better as a touring shows. I understand the prestige of the West End and the cast maybe not wanting to tour, but these shows are so aimed at a British audience it seems a tour would have been a good option.
I can totally see the appeal for people in their 50’s and older wanting to revisit a show and performance that was so iconic and memorable 34 years ago, but maybe not quite enough to make the trip to London during the busy and expensive summer tourist peak.
Mickey, Broadway has a similar thing happening with the “Camelot” revival. It is ending its run early, too. I could not figure out who that show was for. Was it for older audiences craving for the JFK era, or young people wanting to see hot actors?
Sounds like “Aspects of Love” is the 1990’s version of “Camelot”. An old musical that has some decent songs, but has a bizarre and problematic book. Some musicals, regardless of the era they were composed, are just too outdated to justify their existence.
What the hell did that show do with Mordred? Whatever it was, it upset the NYT critic so much he didn’t even want to talk about it. From what I could gather, Sorkin’s version of Camelot took an already-unsteady book and weakened it further by changing the time period and going for some kind of “realism” (like taking magic out of Arthurian legend somehow makes it more relatable??).
And there’s so much a writer could do with the book of Camelot to strengthen it. Make Arthur, Gwen, and Lance a throuple and be a judgmental Galahad be the one who brings down the kingdom so it’s a moral about how judgmental attitudes ruin lives! Make it a disabled-inclusive production where the Round Table welcomes knights with walkers and wheelchairs and hearing aids and stoma bags and it’s all ruined by a villain who pits different types of disabilities against one another in a tale of the importance of an empathetic community! It’s not that hard, Aaron!
Me again, I went back and listened to the original cast recording. It hasn't dated well, I think there are a lot of ALW musicals that are in the same boat. This about how musicals date, some survive like Showboat, Porgy and Bess, Oklahoma, Carousel, etc. There is a whole genre of musicals that are no longer performed like: The Student Prince, The White Horse Inn, Rio Rita and many others. I think that many ALW musicals will fall into this category. This will happen with other composers too. Aspects of Love was a strange choice because it wasn't very popular the first time round. I can't imagine that Cats or Starlight Express surviving a revival.
I've been around the West End today, and I swear there was only old people around the theatre this show was playing.
I saw it and was surrounded by people < 65. I (53) felt young and fresh.
I'm one of those people who has a soft spot for Aspects of Love. One of the first shows I saw on Broadway as a budding theater dork, and ended up seeing it seven times on Broadway, including closing night after Sarah Brightman had stepped in. Saw a lousy tour in DC (twice...I know, I know), as well as a regional production in Philly that was quite lovely. Saw this revival in May and I was ... underwhelmed. Already purchased my tickets for a return visit in July. But Mickey Jo Theatre is spot on when he says that this revival seems to have only been produced for people like me who wanted to see Aspects of Love again. If that's the case, mission accomplished!
I think Monsieur Ball must’ve been privy to this news pre west end live hence his lack of involvement, leaving the younger cast members to publicly flog that dead horse.
A Sound of Music with Gina Beck into the Lyric Theatre would make me very happy. Chichester closes 3rd Sept so too late maybe?
I am not surprised but feel really sorry for the cast and crew. But as I commented in your review video, this seems like it wouldn’t work for the British audience. Not this time, even with Michael Ball in it. I agree - there are so many options out there that will sell well both to tourists and those who are looking for feel-good theatre this summer. Crazy For You is playing around the corner, for example (also a revival, on a limited run). I saw it yesterday and I’m interested to hear your thoughts on this one too (I saw your review of it in its festival run last year).
I saw the original production several times, and the funny thing is that you are right, the love plots depicted in the show were not deemed acceptable at the time, but the actual truth of the matter is that no one really noticed. It's weird thinking about it now because I discussed the show around the time with plenty of other people who saw it and never once did anyone ever so much as mention it. Aspects of Love I suspect has had its day. The original cast were just perfect, with Kevin Colson's uncle George being easily one of the top 5 finest performances I have ever seen on a London stage. (Thank god Roger Moore backed out) And lets not forget that the sets were designed by Maria Bjonson. Was it ever the most interesting of musicals? No. But it did have the right cast, the right set designer and the right director, and the coming together of those things, turned what should have been a pretty dull show into something that was pretty decent. I must admit I wasn't that tempted to go and see this revival because the original really was as good as that show was ever going to get.
And Ann Crumb's vocal performance! Nobody could top her I think.
@@lepetitchat123 so true. She was fabulous and her vocal range was amazing. And she was just the nicest person. I ended up seeing just about every show she did after Aspects. She even invited my Mom and me backstage at Anna Karenina.
A weird way to discover Bleak Expectations is closing. I am not surprised. I had a seat in the stalls (about halfway from the stage) and I was the only person in the entire row and there weren't many people behind me either. Sue Perkins had to beg people in the gods to come downstairs and fill up the seats. And then I found it less funny than I might have because silly humour needs a crowd to feed into the atmosphere.
This revival was Michael Ball’s idea. Sad for all cast crew and FOH
It's interesting that the original production succeeded in the West End but couldn't quite eke out a year on Broadway. The song "Love Changes Everything" was pushed over here in the USA, but made little impact. Likewise, Michael Ball made his Broadway debut in "Aspects" and has yet to catch on in the USA. Although I am a fan of many UK-based stars such as Alexia Khadime, Ruthie Henshall, Carrie Hope Fletcher, Cynthia Erivo, Alice Fearn, India Varma, Bertie Carvel, and Charlie Stemp. Michael Ball hasn't registered for me. Even if I am not a Michael Ball fan, maybe he's not quite the box office draw he used to be? I dunno could it also be generational? The stunt of rewriting the show so he can sing his old hit might be a lil' '90s?
The ending: Being very old, I remember Spike Milligan’s Q series, in which sketches would finish with the cast turning to the camera and stepping slowly towards the edge of frame, chorusing 'What are we going to do now...? What are we going to do now...?'
Should be noted that Come From Away was Canadian, originally written and produced by Canadians. The term "come from away" is a somewhat common east coast phrase that has additional meaning in the local culture and subsequently the musical.
The problem with Aspects of Love is the problem that Aspects of Love has always had - it's a pretty score with some great melodies, some god-awful lyrics and a plot that even in 1989 sounded dodgy as hell. I am sure that EVITA and SUPERSTAR and SUNSET will feel better - but in all honesty, the West End won't and can't move on in a radical way until the virtual monopoly of Mackintosh and Lloyd Webber in terms of financial clout, theatre ownership and media traction ends - and that's going to be a generational thing.
I genuinely hope I’m around to watch that generational change. I want to see the bursts of weird art that get through the cracks when one old system collapses and another hasn’t yet firmed up its iron grip on a creative industry.
I fell in love with Aspects of Love back when the OST was released on CD and it's been my favorite showtune OST ever since. I love the music, Michael Ball's vocal performance, and even enjoy the love triangle between Alex, Rose and George! The relationship between Jenny and Alex, however, ruins the overall appeal and I can't even recommend it to people without explaining there's some weirdness. It was no surprise the show was one of the biggest flops on Broadway, because most people don't care to watch a romance play out between a 35 y/o and his 15 y/o cousin. Because of that, I had no expectations to ever see a large production of the show.
A few months ago I was shocked to see Aspects was being revived, with Michael Ball playing George! Michael Ball is my favorite performer and seeing him in person was one of my biggest bucket list items. It also so happened the show was running during my Paris honeymoon (I'm from NY) and it was easy enough to get to London for a matinee show and back the same day. Needless to say, I was beyond thrilled to buy tickets to see Aspects of Love with Michael Ball which I was able to attend last week!
This experience was nothing short of a miracle and I basically sat there with goosebumps from the beginning of the show through Michael singing Love Changes Everything. I really enjoyed the performance and am so thankful I was able to experience it. My only complaint was they changed the ending: they removed Alex's final choice and just left everyone standing there which was awkward and stupid.
I'm not surprised it's closing early due to the aforementioned weirdness, especially in 2023. They tried to make the production more acceptable by changing ages, but the cousin thing is still there and most people can't get past that. But I'm eternally grateful I was able to experience this show live with Michael Ball - a dream come true!
Went this afternoon. Only half the stalls sold, to an older audience (who it felt like just wanted to see Mr Ball). Not sure it was appealing to a contemporary London theatre audience.
I think ALW just needs to quit while hes ahead otherwise hes mainly going to be known for flops/ closures. He had his time with Phantom.
ALW also needs to learn which of his shows actually work, and deserve a revival, and which do not. Besides “Phantom”, which is his best work. Only “Evita”, “Jesus Christ Superstar”, and maybe “Sunset Boulevard” are deserving of being revived for a new generation. This can be said about virtually every composer’s musical theater library. Even the late, great Stephen Sondheim and the iconic duo of Rogers & Hammerstein.
Can we have Cruise back for a couple of months please!
Thinking it might be Assassin's though
it’s all very well getting a refund for the ticket price, but what about time booked off work, hotel bookings, transport bookings child minding arranged.
Sounds like they are giving you a gift so you can get tickets to something better worth seeing.
I’m not shocked. When I saw it the house was barely half full. Other reports from friends who’ve seen it have all been the same.
Phew. I’m seeing it on the 10/8, so I’m still seeing it then
Found your passing comments on Bleak Expectations interesting - I got sub £10 tickets for the stalls a couple of weeks ago (never a good sign), and for that price, it was a good way to spend an evening, but it didn’t have the level of humour of the radio original and the audience just didn’t seem to connect with it at all. The cast did a great job, and it was clear they knew the writing was on the wall, but it did feel like another one that didn’t know its audience.
ALW is out of fashion now. Aspects is a sung play. No shiny big bang numbers, no rap, not Disney or a film adaptation or rework.
I enjoyed it. The set design is beautiful.
I saw the Australian production of Aspects of Love, way back in 1995 in Sydney. It was a good production with some of Australia's best actors. It was a scaled back production that was fast paced and clever. Directed by Gale Edwards (I think). Gale Edwards usually worked with Opera Australia. I think it is a show that has dated badly, it was "of it's time). Some musicals should never be revived.
Ooh will you be reviewing Miss Saigon in Sheffield?
Howz the cruise planning going?
The thing about this is - I agree the storyline sounds unsettling. (I haven’t seen it - if I lived in London I might, if it toured I might, but I wouldn’t travel for it- possibly another factor here?) But if that’s the reason it closed, what does that say about audiences? That they can’t cope with uncomfortable plot-lines? That they can’t be bothered to examine context? There’s a difference between portraying these themes and saying to the audience that this is a manual on how to live life. I’m pretty sure the title is meant to be satirical - the ‘Aspects’ refers to what people can mistake for love, e.g. lust, obsession. You’re right, though, that the ‘Love’ part got sold - pink lettering and all - and probably gave people entirely the wrong idea. This book is basically a thinly veiled portrayal of groups like the Bloomsbury set - and I really don’t think enough emphasis has been made of the setting - postwar France had very different social norms (and laws!) to modern day Britain when it came to relationships.
Side note on uncomfortable plot lines: I don’t know if you’ve seen The History Boys, but that is less than 20 years old and whilst being very well written it’s in many ways equally/more disturbing. I do wonder what kind of reviews it would garner if it were released now!
I must admit I always thought a six month run was ambitious - even shows like We Will Rock You, with a very obvious built-in fan base, are only going for a 12 week run for their revivals at the moment.
That poor guy who went from Cinderella to this definitely must have came in with a “I really hope this one doesn’t close early too” attitude. I’m sure one books what they can but ALW shows seem on shaky ground lately.
Could the CFT production of The Sound of Music be going into the Lyric after the Chichester run ?
6:47 😂😂😂
Tbh this doesn't come as a surprise to me. With ALW reputation atm I'm gonna be honest I don't think phantom will last much longer
Based only on the cast album, (Honestly, I can't remember if there was a tour or not) to me, the show was an unmitigated downer. Even the supposed uptempo numbers, usually between Michael and Jenny are supposedly light-hearted, still to me, I can't get passed the fact that M.B. has fallen in love with an underage girl and is holding on, but the ending implies maybe he'll make it, maybe he won't. Mind you that at this time, the cast album is in storage
I also think the plot is wrong for todays audience. I loved the music and the cast were good, but it just didn’t resonate. The ending didn’t work either.
“Sir” Andrew Lloyd Webber 😱😱😱😱😱😱😱😱🥴
Great soundtrack, no matter what.
I just saw this production on Thursday and loved the performances, but even upping Jenny’s age to eighteen can’t save the story. Imo that is it’s one great downfall.
maybe this means a (Bad) Cinderella revival is coming ;_)
So we should only stage productions that are nice and pretty and happy? *eyeroll*
Watched it and the show storyline and songs were so bad and it was expensive. Performers and directors can’t save it - word of mouth got out to de-influence it
I always loved this show and was really looking forward 2 seeing it! I'm surprised it had so bad reviews as it has always had generally good reviews??x
Wait bleak expectations is closing early? 😢
The kind of show that would have done a lot better as a UK tour in Winter in my opinion. Feels really dated for the west end.
Also I should point out as a proud Canadian... Come From Away is a Canadian musical....
Of course you are correct! When I say American I'm talking about the continent, not the US - apoloies!
@@MickeyJoTheatre No need to apologize--I just have so few chances to point out a musical is Canadian (although because it was completely assembled via audition by a Canadian, in Canada, I like to claim Ragtime is a Canadian musical too ;) ) I forgot about my time living in London and Dublin when I would often hear Canada just lopped in as "America."
Fun fact: (And here I'm just again urging you to reach out for private connection) ... One of the producers of _Come From Away_ is a personal friend (albeit American).
Indeed, I believe I shared the stage with him in Montreal once...
That said ... I'm not sure I'd claim Garth Drabinski if I were you......
Please can they just keep it out of Australian theatre space!
I bet they'll do it in melbourne 😂
@@skunkjo3195 nnnnoooooooooooooo! Oh Jesus! Noooooooooioooooooooo please!
So, I got a little out of hand analysing what I know for sure to be coming to Melbourne theatres for the next little bit. Sorry. Please feel free to ignore me. I’m a bit of an over enthusiastic theatre post grad student!
Though, I happen to know that wicked will be coming into the regent to capitalise movie publicity, not that it needs it as it would be exactly ten years since we had it. Beauty and the beast will be at the Maj after Poppins. Mamma Mia will be at the princess, I can’t remember where Cameron is sticking miss Saigon but fair enough, that’s a decent variety and I think the comedy is doing really well with it’s shorter run of shows. I’d like to see six do a longer run back here, I’d like to see waitress find a home, maybe at the playbox by MTC? I am just so damn sick of Andrew Lloyd Webber sticking his failed attempts at new stagings of musicals here when they don’t work in the west end or on broadway. Don’t get me wrong, I understand this wasn’t produced by him but it’s a concert adaptation begging to be staged if anything and we don’t have any famous stars attached to love changes everything. I know Michael Ball singing it. I think JC superstar in shorter runs will always attract a good following including myself as it’s the first musical I can remember seeing - in concert form, in the round when I was six and I’ve loved it ever since. I saw the sadly I’ll fated production company do a season of it at the state theatre with rob mills as Jesus and I already thought he was pretty damn good as Fiyero and at an open air broadway concert in the botanic gardens and some other things but my god, he was so good as Jesus, I don’t know if I’ll ever see him do anything as good. How ironic is it that between being incredibly chronically unwell and having a couple of emergency hospital admissions and desperately working to finish my post grad thesis on Hamilton, LMM and how his interaction with fandom changed musical theatre fandom interactions on a wider scale, that I won’t get to see and juliet?! Not in Melbourne, anyway! I got Taylor Swift tickets but not and juliet ones! Not where I could see, anyway and as I have less then 5% functional vision, it’s very hard for me to get theatre tickets!
I’m sorry that was an essay. I’m a bit tired about writing about Hamilton right now! There was an opening. I love Hamilton. I adore it. I’m just sick of writing about it!
Thank you for replying.
I got the impression from the commercial Michael Ball would sing a reprise of "Love Changes Everything" at some point in the new production. Bit of a sellout if that's true.
he should have stopped with musical when he knew he was going to close phantom on broadway.
I saw the Broadway version with Michale Ball, twice!! It was fantastic, I still listen to the original score and play different selections on the piano, have enjoyed it for years ! All ways thought it was one of Andrew’s best! What did they do to it ? The New York critics closed it down early here too,don’t know why
I'm sure you misspoke, but Come From Away was "a very American concept"? 🍁😢
As a Newfounland fan, it surprised me too. (My favourite TV show is set in St. John's, so, I kinda know the island)
Aug 19th to Nov 11th is almost 3 months.
It is! What did I say? 😅
@@MickeyJoTheatre almost 2 months.
I took my daughter on Friday 23rd June ! We left in the interval ! The story line was very poor very unbelievable ! Songs apart from Love changes everything , I didn’t enjoy the other songs, the set was very poor wouldn’t recommend & I’m not surprised it’s closing ! The tickets cost £100 think I was robbed! Very disappointed ☹️
Sad to see a show closing early but this just sounded so dated and icky! I also think it's not been advertised correctly, it looks like a rom com in the posters and it doesn't sound like it has many laughs (except maybe at times you're not supposed to laugh...)
I think ALW style of writing musicals, and also the themes in all of his shows, heva always been a little creepy. Christine is a young girl in the corps de ballet when she basically gets secuced by two older men who want her as their trophy (yes, I know Raoul loves her, but still). Evita is somewhat realistic, but that´s about it, and Cats only works because memory is a good song, and the choreos are amazing (Nobody goes to see Cats for mungojerry and Rumpleteezer). If you look at the successfull shows, like Six or Frozen, you´ll notice they´re structured very differently. Modern audiences just don´t resonate with ALW style anymore, because his shows feel like he´s stuck in the 80s ... but society is not.
You do realize “Frozen” flopped on Broadway, and Disney had to completely overhaul it structurally?
@@ChienaAvtzon it performs really well here in Germany...
I loved it seeing it 3 times before it closes
there is a disco version of cats in the works...I am not joking...a disco version of cats...I think Lord lloyd webber era of dominance is over
they brought cats over to Dublin, lock, stock and barrell in the 1990s. i still recalll the cast going to the point depot to mingle with audience and being blown away by how Cat like the cast were. and the set blew me away. its the best of the lloyd webber 1980s shows. Both my parents saw evita.
Okay, now i need a disco version of cats. It would be hilarious.
What a shame
“Come From Away” is actually Canadian. Very Canadian. Calling it “American” is … odd. Do they not teach you that these are different countries in Britain?
America is a continent, to be fair…
Indeed it is! When I say American, I'm thinking of the continent, where I would describe Britain as European - apologies!
It just has never really worked sadly.
They were selling reduced price tickets in Leicester Sq 2 weeks after opening- not a good sign - you gave it a v poor review- which of course was your entitlement
I went to see it because of the cast - and the cast was really good. Nevertheless I thought about leaving during the intervall. What an old-fashioned and pompous musical and what a mess of a story!
But it was almost sold out that night (8th of June), maybe the tickets were bought before the bad reviews came out. I had the impression almost everybody came only to hear Michael Ball singing "Love changes everything".
It was my worst theatre experience 2023 so far.
The show has a gorgeous score and a problematic book- read the original novel which is good - I think it needs a sexy cast to pull off all the romantic and erotic aspects
You might like to know that new, show non-specific vacancies are being advertised at the Lyric at the moment. Not for Aspects, not for Peter Pan or Hadestown either. We'll see.
Meanwhile, I would quite like to see the show now, just because of how dodge you've made it out to be, in a schadenfreude sort of way.
No no no it can’t come to America 😂
I saw this for the first time last week and although I enjoyed some of the music I just couldn't get past the creepy storyline, even if the young girl's age was increased to 18. Not a favourite of mine and no desire to see it again. Ever! However the theatre was at least three-quarter full and the response at the end was standing ovations, cheering etc. The audience was mainly my age (seniors) plus what I suspect were friends of some of the ensemble judging by the whoops as they took their bows. I was surprised to hear that it was closing although perhaps a midweek matinee is a law unto itself! I also couldn't really get into the young Alex - he sang phenomenally but just didn't have the charisma, which is how I felt seeing him in Moulin Rouge last year. But any show closing is sad for the cast......
I agree Alex just didn't cut it for me.
Not sure its shocking…your review made it sound awful. You have to call it like you see it…not your fault and your concern for the cast and crew is sweet. Perhaps productions should seek your opinion/ advice at the start. Not sure any cast could make the storyline work
The sad fact is that this is one of ALW‘s weakest shows, saddled with a godawful, repetitious book and creepy source materiel. It‘s also uninspiring musically. There are several other ALW shows much more deserving of a revival - Whistle down the Wind has always been a favourite of mine. Also the Woman in White, though that would need some ruthless book revision to get rid of some absolutely awful sung lines.
‘A few years ago’??? Cinderella literally close 1 year ago. 😂
In theatre world it must feel like longer than it actually is 😆
Sorry for the lovely Laura Pitt Pulford but can't stand ALW at any time
I enjoyed watching the show a couple of weeks ago. I know the show has a difficult subject matter , I thought the production was very well done and I thought the cast were great . It's a shame it's closing early
I kind of wanted it to come to America. I know that makes no sense, but neither did "Cinderella." (And that cost them dearly.)
Honestly? I just want to see Michael Ball on Broadway! And in "Aspects of Love?" I'd die! I know it's not a great show, but I was obsessed with it when I was a kid. I bought tix to see "The Woman in White" (which also sucked) just so I could see Michael, and the show closed before I got there. I'm still not over it. LOL
Ugh!!! Maybe he'll just do a concert series in the states. That would be cool. Even just a show in NYC would work for me since that's where I live.
Saw this the first time around......and it was rubbish then!!
Couldn't believe it had been brought back.
I have always found MB to be overrated, though he does seem to have an army of devoted fans. Each to their own.
Of course, the relationships are too chaotic, bad ending or even say incomplete ending, 1 man and 3 ladies then? What’s the ending ? What’s the point indeed ? Except chaotic, I can’t think of any words to describe it. Obviously Andrew just wanna wrote 2 hits songs to fit into this story but the story indeed is badly executed and just full of question marks ????????? After seeing the ending. Many audiences may said ... finish? So? Then? At the last scene I guess
Anyway very disappointed musical 😔
Not surprised that this closed early, because all the hypocritical reviewers like you love to trash anything by Lloyd Webber or anything with a good score. I don't understand why reviewers like to gaslight the audience by claiming it's a creepy pedophile story when instead it actually revolves in Act 1 around a solid love triangle, and in Act 2 Alex is the one resisting Jenni's advances; he's not "grooming" her.
Who is this show appealing to? Yes, people like me who love the score, because it's some of Lloyd Webber's very best and most sophisticated music, and also people like me who appreciated the Act 1 love triangle and the more mature Act 2 exploration of a variety of relationship topics (I especially liked seeing the once-obsessed Alex who has grown up and has a more stable platonic relationship with Rose, Julietta's incredible aria, etc.) I find it far easier to empathize with, learn from, and be moved by the characters in Aspects than those in most other musical plots.
The problem isn't the plot, it's the bizarre way in which current reviewers love to trash anything good.
I love musical theatre, but I've felt frustrated most of my life since most shows fail to live up to the high standard of my favorites that I discovered as a kid: Miss Saigon, Aspects of Love, Chess. (Although I haven't forgotten that the critics hated Miss Saigon too, and "Will Rogers Follies" won all the awards instead.) There are new shows I like, at least in part, but I guess current audiences are less sophisticated. It's frustrating that there are so many shows winning awards these days that are absolute trash, since I'd like to her new good musicals, but the current climate really puts a damper on anything good getting fair recognition.
Aspects is leaving, so we're stuck with the stuff our woke reviewers typically approve of. Here are some of the much less controversial lyrics from everyone's favorite "A Strange Loop" (BTW I know the professor who invented the term -- this show is really bastardizing this terminology; it's pathetic):
"Is that shade you throw a crutch?
B*tch, you protest too damn much!
Why so sour? Why so stuck?
Do or don't you want to f*ck?
F*ck f*ck f*ck f*ck!
...
Then a bus, then a ferry, then an orgy on Fire Island
...
Looking into hungry to bury the sexual anguish
Looking into hungry to chop off my penis and languish
My dick too small, my dick too small"
Yeah, this is fine, beautiful modern Pulitzer-Prize writing in-line with society's current moral standards but 18-year old Jenny feeling confusing romantic feelings for her older cousin is the epitome of filth? gimme a break.
I also think it was unnecessary to make Jenny 18 for revival production. In original production, Alex didn't accept Jenny's love and it was Jenny who is actively trying to make Alex love her. Since Alex did resist Jenny I don't see why there is concern of paedo accusation. Now that in new production Jenny becomes 18, no legal complication now, why should Alex choose Giulietta who he only had one drunk sex in the barn?
But for the revival production, I went to see on 28/06 afternoon. The running time is shorter than I expected. I haven't see original production in 90s and only have listened to the CD. In Original CD recording each act should be 70+ minutes. In revival production, each act is just 1 hour. So quite a few original scenes were removed and some music tempo appears to have speed up, which I feel losing the emotion. for example in Act 1 "at least admit you loved me once", and in Act 2 "Just promise me one thing", "alright what is it", "don't ask questions, you must promise first". When I listened to the CD I felt sad sympathy for Rose begging "don't leave me", but when seeing the revival production, I don't feel the same when seeing this scene. I thought I would get teary eye walking out of the theatre but I didn't.
@@cheng-shiuntsai7508 Great points, thanks for mentioning the shorter running time. I also missed the deleted scenes and calmer tempos. I'm still hoping for a cast recording to appear since I'd love to hear this again and study the new orchestrations.
Some excellent points made here about the new breed of critics whose spiteful, snide anti-ALW reviews have contributed to the untimely demise of this revival. I am amazed how narrow minded young people have become, seeing words such as dubious, creepy, incestuous, icky used in relation to this show. Really?? With a bit more maturity many will realise that the situations depicted in the show actually happen in real life! So why shouldn’t they be portrayed on stage? I love the story and have always found the characters wonderfully engaging. It is also a beautifully constructed show. For me, a stage musical does not come any better than this. This may well be one for an older audience, but there is nothing wrong with that. It has not deserved the disgraceful drubbing it has received from new ‘trendy’ critics. Looking forward to seeing this production next week.
It is so funny the way old people think they are so superior because they are old and like old things and hate that history shows that things are always change. Im not looking for to the moment i will be bitter about the fact that im becoming outdated. Go tô sleep grandpa.
Patti Lupone is god and he should have never crossed her.
This show remains one of the worst pieces of theatre I’ve ever seen.
I think I can promise you that Aspects of Love has no future on Broadway. The one previous Broadway production, in 1990, flopped resoundingly, so it wasn't even a minor or a marginal hit here. And I've never met anybody who loved it. I think the most common word-association here would be "creepy."
A 2 year run is hardly a flop.......
@@ansonia12 Yes, it is, when the show doesn't make money. That's how a flop is defined. And AoL's Broadway run was 10 months (377 performances), a far cry from two years.
do you have your own opinion or are you limited to analyzing what other people think. This book and show look at love in a truly unique way and yet all you can talk about is how it resonates with modern sensibilities. Do you have any sensibilities or your own or are you a slavish mirror. Nothing is so sad and impoverished as a moral judgment that appeals to mass opinion rather than a true ethical analysis. This love and this show is beyond you and I pity your boyfriends.
Of course I have my own opinion, it just isn't the same as yours - and that's okay!
I also don't have boyfriends, just the 1 fiancé 😉
BRING BACK CATS PLEASE
he did for broadway and same with jesus christ superstar, but neither lasted the run he wanted them too
@@amycarcaterra8177 - Bothe those revivals were intended as limited runs.
@@ChienaAvtzon they we're open ended when they came back to broadway.
it'd run well in Alabama 🧍♂
😂😂😂😂😂