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I recently saw Sunset Boulevard in Melbourne and it is an excellent production. Amazing voices and spectacular that is not to be missed. I think it is struggling in Melbourne because of the higher than normal ticket prices and the current cost of living crisis. I suspect it will do better in Sydney where there is more money and more tourists. The media has reported on the cutting back of the number of shows but what they have not reported is the Grand Circle (upper balcony) is now closed to audiences. Tickets are limited to the stalls and Dress Circle only. It is an electric show with all the Hollywood glam so I hope many more people enjoy it before it moves to Sydney.

So they seem to be content with the Hamburg run.

Nitpicking here, but Adrian Dunbar is Irish rather than British.

I can't believe this was two years ago, I remember this like it was yesterday-

I saw Betty Buckley and also Patty which were both wonderful, whilst being a huge Patty fan, I have to admit that Betty would be my standout performance. She stole my heart that night ! I would love to see the new production with Nicole

Saw it last night. Very enjoyable but no way as good/ witty as Crazy for You. Dance routines were great but only two or three (?) and none between the main romantic leads. Charlie was so underused 😢 Sorry to be unwoke but is it now a regulation that you must have a ‘large’ chorus dancer and a ‘body positive’ Black lead singer (See also latest cast in Guys and Dolls)? Yawn. Never heard of Stephanie Block before but she was good and Adrian charmed the audience. 9:03

I saw it recently and I am new to Starlight Express so I didn't know anything about the story beforehand, though I could identify most of the changes made anyway. I think the worst change was making Greaseball a female as it didn't fit naturally with some of her lyrics and the 'b-a-s-t-a-r-d' bit at the end. The actress playing her was brilliant but it was shoe-horned in to me and made the plot around her and Dinah more obscure and frankly less believable. Looking at clips of the last London show at the Apollo, I think the main differences are that older productions had slightly more focus on plot and particularly more emotion from the Control voiceovers, whereas this new one is a fantastic spectacle with great constumes, performances and music but it seems that what little nuance the show originally had has pretty much gone. This comment may seem negative but I actually loved the show, I just slightly regret that it appears to have put the sheer fun of it at maximum priority and everything else has taken a back seat.

I've seen people saying, "Eddie is acting as Stephen Hawking". Like, are we seeing the same video here?

I agree we need more diverse appearances of actors in the roles on Broadway. The cookie-cutter types in Broadway and sadly in movies/tv too in America, it just seems like they're casting Rockettes to all look alike and have the same body type. It's kind of grotesque. I agree we need more disabled or plus-sized actors in the lead roles.

Sarah Brightman was off key when we saw her years ago. I wouldn’t ever pay money to see her again.

He’s SO GAY 🤭🤭 Any more gayer, our boy would fly out of that room. Talk about tipping n’ dipping 👀😁.

This identity politics game is illogical and ultimately self-defeating. The case being made insists that being disabled gives an actor a special insight to playing a disabled character. This makes their casting in Richard III an artistic imperative. But using that logic, being a white male should give an actor a special insight to playing a white male character. Yet casting actors of color in white roles, or women in men’s roles (as with Globe’s Richard III), is so common now nobody thinks twice about it. Nor should they. Maybe these demographic traits really have nothing to do with true acting. Maybe we should just pick the best actor and let them, as Sir Laurence Olivier once put it, “Try acting.”

Everyone know wants the romeo jacket…. They would have made a bundle if they sold them as merch

I loved weird, wirey Eddie Emcee. He's great.

Dang what a hot and sexy chest. 😉

I’m in the ensemble of this production, and MickeyJoTheatre doing a video of a show I’m in was not in my 2024 bingo card 😅 Fantastic video, as always. Intelligent, nuanced, researched. Love your channel ❤

You're a harbinger of positivity! -- "Success is an ongoing journey.."

1. I feel like Aida deserves a shoutout for both having SO MANY reprises, I feel like the reprise of My Strongest Suit deserves an especial shoutout for a) not pitting the two women in the love triangle against one another, b) bringing wonderful depth to a character we've seen as both frivilous and outgoing and being very small and *quietly* sad, a nuanced take on how she's aware of her own situation and the inherent sexism in the situation...; *amazing* contrast to the bubbly fashion show of the non-reprise. (Realized it's been over 20 years since I saw that and *wow* I feel old, and also still remember how much that hit the first time I heard it) 2. Seconding the comment on Somewhere that's Green reprise. 3. I have gone OFF on the cutting of Agony reprise SO MANY TIMES. For all the mistakes in that film, the princes' casting was *perfect* and they *WASTED* one of the things they *didn't* fuck up....by cutting that song and then fucking it up.

Currently desperately researching this show rn now that Christian Borle is replacing Andrew Rannells in the Broadway transfer

Just to let know Dónal is pronounced like "Doe-null"

Hmm, funny. Always thought Joel Grey’s Emcee was gay. That the character in fact was always gay, not just starting with Alan Cumming.

I really loved this video! Thank you for all the background and context you provide :)

The early 2000 transfer was proshot with Rachel York - a FAB proshot

I love Kiss Me Kate! Especially the West End production with Brent Barret. It was one of my first introductions to live musicals…. On DVD 😂😂

Love your explaining Taming and didnt reference "10Things I hate About You"

I saw Toby Turpin as the emcee!! What an AMAZING performer :)

Did you happen to see "Ophelia's Zimmer" at the Royal Court in 2016? It was quite disturbing, in a good way. ☺️

I have to say - because I saw Hannah Waddingham in Kiss Me Kate - I am slightly hesitant about seeing another production, which is a shame because it’s a great show. But honestly - she was beyond phenomenal, and I can’t imagine anything matching up!

Great news! Thanks for your video. Just for clarification, Roger Bart played young Hercules in the animated film. Tate Donovan played adult Hercules.

The thing with Redmayne for me is that every performance he does, he makes sure that the audience knows he is Acting. Personally, I think it gets to a point where it’s more like someone waving their arms and yelling “Look at me!” than doing an actual performance.

Fortunately we can disagree. It seems to me that Eddie makes a creation that stands out from all those who have played this role. He has made a creation and he has done it splendidly well. You have to see it, you have to live it.

‘They’re going to deliver. They’re going to spend the money.’ I was waiting for ‘they’re going to go the distance’. 😂😂

1st time here. 👍 context is important..ty quite interesting get to the meat of it.

Tbh, he just kind of sucks as a celebrity and actor especially in this role.

I would have liked to also hear you go into further depth on how much Redmayne's portrayal of the Emcee changed between the West End and Broadway versions of Cabaret at the Kit Kat Club. Was he more charming on the West End? Did he have better chemistry with the ensemble? Were there other reasons that there may be a disconnect based purely on his change in performing in that time?

I love this length of the reviews! The longer the video, the better!

I think you really missed the nuance of "The Letter" personally, even though lots of the points you made were correct. His comments about the house, are his way of breaking through to her comedic side - he's just trying to win her back in this moment through making her smile by mocking himself. It's quite humble. He's stressing that he really values her in his life as a mother, friend, wife and partner in crime.

The main issue that I have, and this is without having seen any full performance of Cabaret: this is a well-known show and the Tony Awards is a broadcast for a wide audience. It's supposed to play to a wide audience and they could have used some other performance for that show if it's going to be such a different take.

This is another example of how messed up “intersectionality” is. A bunch of people arguing about which marginalized group should get preference (privilege??) over another marginalized group. Crazy. Acting is not about being who you are. It’s about convincing the audience that you are someone else entirely. Just cast the best actor, all other considerations be damned. And, by the way, Richard was not a “victim” of his disability. His character in the play was immensely privileged and powerful. He used his “deformities” as an excuse to “prove the villain” and victimize everyone else. If lived experience is the new standard for casting, is there a disabled actor who can claim using their disability for resentment, cruelty, treachery, and murder as their lived experience? If not, maybe they’re not the right choice after all.

An excellent review as usual although Dunbar was not up to scratch on the evening we went. Yes, the problem was the overall direction. So many missed opportunities.

I saw the Public Works production in Central Park & loved it. I never understood why it didn't end up on Broadway. So the fact that it's opening on the West End is encouraging. 🤞

I saw the original production many (many!) years ago, and I loved it. I haven't had the chance to see the new version.

I really love the longer videos. There's no waffle and I find the detail and analysis super interesting.

I don't need to see more old offensive musicals that should be updated or retired permanently. I dont know how shows like this and the king and I, while beautifully sung, are able to succeed.

Love your review length. For people who want something faster, listen to it on 2x speed or use the very generously provided chapter headings to skip over summaries if you'd like. ❤

I have only seen the film (and read the book). I clicked in for curiosity's sake, and I'm so glad I did! What a great breakdown. I paused partway through to watch the Tony performance, and WOW. Absolutely brilliant-and I'm not sure how much of my awe is due to having all of the context you provided, but I'm sure it's not an insignificant amount XD

I'm not sure how to get my thoughts out of my head on this because they are a bit jumbled. I feel as though the Sam Mendes version could be revived every 5-15 years and do well each time but this version was obviously trying to do something different and I appreciated that. I don't feel it's necessarily about American audiences 'not getting it' but it just not quite clicking with them in the same way. When I saw this production in London (despite being set in Berlin of course) it just felt very British to me. A lot of the costume choices reflected British designers, especially Central Saint Martins alumni- Sally's opening dress felt very Molly Goddard, the MC's skeleton outfit felt very McQueen.

Might be tiktok people who want shorter reviews but Im on youtube for the longer form content. More minutes please🙌

As bad as the snobbish aussie critics makes it look, I'll would be watching Brightman's Sunset Blvd one million times before than the utter CRAPPY "modern"??? revival in London. That's disgusting and disrespectful. Bring the classic musicals in their classic way! I hope Sarah performs as little times as her contract allows her to. You don't deserve a huge star like her, Australia!

I love the length of the reviews! Genuinely enjoy the longer ones !