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Les Misérables Londen
  [ # 241 ] Datum: 10 januari 2019 11:58 PM
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Helder. Ik snap je punt Sven. Van die kant had ik het niet bekeken en kon ik ook niet trouwens omdat al deze kennis over Les Mis me ontbreekt. Dus dank voor je uitleg.

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Het is niet de criticus die telt. De eer komt toe aan de man die daadwerkelijk in de arena staat , die als het tegenzit en hij faalt, in elke geval grote moed heeft getoond. T. Roosevelt

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  [ # 242 ] Datum: 13 januari 2019 10:25 AM
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Ik ben benieuwd wanneer de plannen voor de vier maanden in het Gielgud Theatre bekend worden gemaakt. Eerlijk gezegd had ik verwacht dat het Queens Theatre voor langere tijd gesloten zou blijven. Een renovatie van enkele maanden valt nogal mee. Gaan ze voor die paar maanden het hele originele decor verhuizen om vervolgens na een paar maanden weer te sluiten ? Het mag wat kosten als dat zo is.

Ik vind het heel erg jammer dat de originele versie gaat sluiten. Natuurlijk is het zo dat de huidige versie bijna niet meer te vergelijken valt met het origineel destijds in het Palace Theatre. Ik heb ‘Les Misérables’ vaak gezien en de voorstelling ligt me na aan het hart. De ‘nieuwe’ versie haalt het toch niet bij de RSC versie. Maar goed wie weet worden er toch nog zaken aangepast en uitgebreid als de nieuwe ‘Les Misérables’ intrek neemt in het gerenoveerde Queens Theatre. Ik ga zeker kijken.

Spijtig blijft het wel dat het fantastische design van John Napier verdwijnt. De manier waarop hij de voorstelling gestalte heeft gegeven blijft toch legendarisch en moeilijk te overtreffen. Bijna minimalistisch maar de manier waarop de Parijse sloppen en de barricaden tot leven komen bezorgen nog steeds kippenvel.

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’...Once upon a time, lived a Princess and a Prince in Kingdoms Gold and Blue…’

http://www.theaterverslagen.blogspot.nl

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  [ # 243 ] Datum: 13 januari 2019 10:41 AM
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Ik denk niet dat het decor verplaatst wordt, dat kost veel een te veel tijd.

Wellicht worden het aangeklede concertante uitvoeringen met steeds wisselende bezetting met bekende acteurs die de rollen in het verleden hebben gespeeld. Dat geeft vast veel publiciteit en hoeft de prijs van de kaartjes ook niet omlaag.

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Women on the Verge…
Chicago
Amour
Light Piazza
Joseph…
Book of Mormon
Dr Schiwago
Titanic Keulen
Titanic Berlare
40-45
Anastasia
I Am from Austria
Fun Home
Curtains
Juli week NY

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  [ # 244 ] Datum: 13 januari 2019 10:46 AM
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Ja zoiets inderdaad.

Je zou bijna de titel langstlopende West End musical gunnen aan ‘The Phantom Of The Opera’ die bijna onveranderd sinds 1986 in hetzelfde theater speelt. Maar goed dat is weer een héle andere discussie.

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’...Once upon a time, lived a Princess and a Prince in Kingdoms Gold and Blue…’

http://www.theaterverslagen.blogspot.nl

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  [ # 245 ] Datum: 14 januari 2019 10:06 AM
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Als Cameron slim is, zet die de nieuwe versie weg in het Gielgud voor die 4 maanden.
En opent het Queen’s weer met de oude versie en laat ze simultaan aan elkaar lopen totdat een van de twee achter blijft in kaartverkoop en hij die sluit.

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  [ # 246 ] Datum: 16 januari 2019 03:15 PM
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En de RSC gaat het hard spelen…

RSC begins crunch talks with Cameron Mackintosh over Les Miserables royalties

Royal Shakespeare Company bosses have entered crucial negotiations with Cameron Mackintosh about the organisation’s royalties entitlement once the original production of Les Miserables closes in the West End.
It is understood the show has earned the RSC, which co-produced the original production in 1985, more than £25 million in royalties to date. RSC annual reports frequently refer to “strong royalty receipts” from Les Miserables, but the organisation said it could not confirm how much the show generates for the company annually because the information was “commercially sensitive”.
Mackintosh announced last week that he was closing the current production of Les Miserables in London this year and bringing in a more recent staging of the show, launched in 2009, which marked the musical’s 25th anniversary.
It will replace the RSC’s version, which opened at the Barbican in London, before transferring to the West End’s Palace Theatre, and later the Queen’s Theatre. The updated production has a different creative team, including a new director.
RSC chief executive Catherine Mallyon confirmed to The Stage that negotiations with Mackintosh were ongoing in light of the changes.
“As part of the conversation we will be discussing the level of change around the royalties for the two productions,” she said.
She added that the company was “sad to see the groundbreaking original production leave the West End”.
The original production of the musical was directed by Trevor Nunn, after being approached by Mackintosh.
Nunn was artistic director of the RSC at the time and agreed to direct it, on condition that it be an RSC production and feature actors from the company.
In 2010, just after the later version started touring, Nunn told the Telegraph he had not been asked to work on it.
“We knew nothing of it. We were kept in the dark,” he said, adding that the later version was a “variant production that owes everything that’s good about it to the original production”.
Since the news broke that the original production is to be replaced, a petition has been launched calling on Mackintosh to retain it. To date, more than 2,300 people have signed this. Much of the petitioners’ focus has been on the loss of the original revolving stage.
Frances Ruffelle, who played Eponine in the original production, said Les Miserables was successful not just because of the story and score, but “mainly because of the incredible direction by John Caird and Trevor Nunn”.
“Their staging on the revolve was staggeringly beautiful. It took my breath away every time. Nothing else compares,” she wrote on Twitter.
News of Mackintosh’s plans to switch to the touring version of the musical comes as it emerged that profits from his company Delfont Mackintosh Limited were down 57% in 2017/18 compared with the previous year.
This was due to “the cost of extensive restoration work at the Victoria Palace”. Mackintosh spent more than £60 million on the refurbishment, significantly more than the £35 million he had originally planned.

Bron: The Stage

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  [ # 247 ] Datum: 16 januari 2019 06:29 PM
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Mijn interpretatie van dit artikel is niet dat RSC het hard gaat spelen. Wel dat ze in onderhandeling zijn over een wijziging in de verdeling van royalties. Welke kant dat op gaat vertelt het verhaal niet. Bovendien moet je daarvoor de contractuele afspraken kennen.

De petitie is een mooi gebaar van de puristen, maar 2300 is een getal waar natuurlijk niemand warm of koud van wordt.  De die hards die de veranderingen maar moeilijk kunnen verteren, vullen misschien tesamen maar een paar voorstellingen per jaar.

Het zal inderdaad ook te maken hebben met de enorme investering die Mackintosh heeft gemaakt om het Hamilton theater speelklaar te krijgen, 25 miljoen over budget is niet misselijk. Het verklaart wellicht ook de belachelijke prijzen voor premium tickets voor Hamilton. Wat dat betreft is het jammer dat geld een grote rol speelt, maar ik vermoed dat dat voor RSC ook wel geldt.

Wordt ongetwijfeld vervolgd.

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  [ # 248 ] Datum: 16 januari 2019 07:28 PM
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Die ticketprijzen vallen in vergelijking met Broadway nog mee hoor.
Daar wordt gerust $440,- per kaart gevraagd voor Hamilton of Dear Evan Handson.
West End is altijd nog wel redelijk.

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  [ # 249 ] Datum: 16 januari 2019 09:01 PM
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Sven - 16 januari 2019 03:15 PM

News of Mackintosh’s plans to switch to the touring version of the musical comes as it emerged that profits from his company Delfont Mackintosh Limited were down 57% in 2017/18 compared with the previous year.
This was due to “the cost of extensive restoration work at the Victoria Palace”. Mackintosh spent more than £60 million on the refurbishment, significantly more than the £35 million he had originally planned.

Dit vind ik echt de meest kutreden ever. Omdat het verbouwen van een theater geld heeft gekost heb je nu minder winst die je in je eigen zak kan steken dus ga je maar bezuinigen op je decor op f****** West End. Volgens mij mogen ze voor Les Mis niet klagen als het op zaalbezetting aankomt, dus om deze twee dingen aan elkaar te koppelen is echt puur omdat men dan persoonlijk te weinig geld kan opstrijken.

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“Elphaba, je bent de mooiste…”

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  [ # 250 ] Datum: 05 februari 2019 11:50 PM
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De run in het Gielgud Theatre zullen concerten worden. Originele Marius Michael Ball keer terug, dit keer als Javert, Alfie Boe keer terug als Valjean, Carrie Hope Fletcher die jarenlang Eponine speelde in Londen speelt dit keer Fantine en Matt Lucas keert terug als Thenardier.

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19 mei - Wende Snijders - Mens
23 jun - Was getekend, Annie M.G. Schmidt

http://www.bakkerpraatjes.com

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  [ # 251 ] Datum: 06 februari 2019 02:48 PM
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man man, wat een cast, het wordt steeds mooier. Alfie Boe zal de rol van Valjean afwisselen met John Owen-Jones, die de rol 3 dagen per week gaat spelen.  Als Les Mis addict sta ik werkelijk te stuiteren van al het moois dat 2019 gaat brengen. Vvv begint morgen.

[ Gewijzigd: 06 februari 2019 03:03 PM door LondonMark ]
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  [ # 252 ] Datum: 06 februari 2019 07:39 PM
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De kaarten zullen wel aardig aan de prijs zijn, vermoed ik ....

Maar eerst nog een laatste keer naar de RSC-versie in het Queens Theatre

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’...Once upon a time, lived a Princess and a Prince in Kingdoms Gold and Blue…’

http://www.theaterverslagen.blogspot.nl

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  [ # 253 ] Datum: 06 februari 2019 07:49 PM
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Jammer dat het doek valt van de originele productie. Ben toevallig in Londen als de concerten starten, maar de cast trekt me totaal niet. Wellicht goed om het bij de herinnering te houden.

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  [ # 254 ] Datum: 07 februari 2019 08:44 AM
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Toch even de pret drukken wink

Designer John Napier: ‘Les Mis has gone backwards – it’s become formulaic, not radical’

After more than three decades in the West End, John Napier’s staging of Les Miserables is set to be replaced by the touring version at the end of this year. Looking back on a career that has also included Cats, Starlight Express and Sunset Boulevard, the designer tells Matthew Hemley why he’s pleased that fans are mourning the revolve
At the end of this year, a musical theatre icon will leave the West End. While Les Miserables will continue to run on Shaftesbury Avenue in a slimmed-down, slicked-up touring version, the much-loved original staging is to close for good.
As well as Trevor Nunn and John Caird’s visionary direction, Les Mis became legendary for its extraordinary design, based on a revolving stage and its awe-inspiring barricades. For John Napier, the man who designed the show that opened in 1985, the loss of the original production inspires something akin to grief. It is grief mixed, it’s fair to say, with a splash of bewilderment and a heap of frustration.
Napier, who won a Tony award for that design, is at pains to say he does not want to appear petty, or seem “churlish” towards the show’s producer Cameron Mackintosh, who took the decision announced last month. But as an era in musical theatre comes to an end, it’s clear he wants to have his say.
“I have made an enormous amount of money from these three Cameron Mackintosh productions [Les Miserables, Miss Saigon and Cats] over the years, but clearly there was something going on in Cameron’s mind where he was not satisfied with what we did originally on Les Mis. And once again he’s turned it into sort of another Oliver!” When he describes it as “another Oliver!” he explains that he feels many of Mackintosh’s “revitalised” shows are “formulaic as opposed to out-of-the-box and radical”.
Napier continues: “My grief about that, if there is such a thing as grief with someone tinkering with a show, it is that it led Les Mis down a path that felt a bit backwards, into some sort of era of stage cloths and people pushing things on from left and right… The thing about the original is that it’s much simpler and more organic than the other production.” In losing the original’s simplicity, it has lost some of its beauty, he feels.
The 74-year-old designer found out that his staging of Les Miserables would finish in a letter from Mackintosh last year. But the seeds were likely sown when the new touring production began in 2009. At that time, Napier was keen to know what the financial implications would be for him when the new version began to tour.
“We had a dispute about this whole production,” he explains. “I felt I was relatively deserving, given it was the original production that had underpinned the new production really. But there was a disagreement about that.”
He adds: “I have subsequently had no financial benefit from the touring production whatsoever.”
Napier says Mackintosh offered to buy out his intellectual property – “for the wonderful sum of $50,000”, though it could have been pounds, he can’t remember. “But, as you can imagine, I refused.”
Napier reveals there were “sharp words said from people on both sides” and that the situation is ongoing. Though he points out the company knows he is not in a position to make a legal challenge and doesn’t really want to anyway. “I am not sure I want the bother, quite frankly,” he says. “I’d be dealing with a behemoth.”
As it stands, when the new version opens in London, Napier will make nothing from it.
From art school to the West End
Napier studied art at Hornsey College of Art in the early 1960s, before studying theatre design at the Central School of Arts and Crafts under Ralph Koltai. After graduating, he became an associate designer for the Royal Shakespeare Company and worked on productions of Macbeth, The Comedy of Errors, King Lear and Hedda Gabler there. At the National Theatre he worked on shows including The Party, starring Laurence Olivier in his final performance at the Old Vic, and Equus.
Andrew Lloyd Webber’s Cats marked his first foray into musical theatre, followed by Starlight Express, before Les Miserables and Miss Saigon came calling. Napier, modest though he is, feels he and a handful of other designers at the time “changed the dynamic of theatre”.
He says his style has always been anything but pretty. “If you look at the three big shows I did with Cameron, almost all of them are in a territory that is kind of grim. Cats, because it’s TS Eliot, I put in a wasteland. Les Mis was in Paris, and I made it gritty and grey and dull – deliberately so the performers would stand out.” He adds: “It’s the slicking up of stuff that I object to. I believe, as Peter Hall once said, that really great theatre has a rough edge to it.” He adds that the newer Les Miserables has “something more colourful about it – and I don’t think the story needs that”.
When he was designing the original Les Mis in the early 1980s, he and Nunn took a trip to Paris. Together, they listened to the music and read the book. Nunn felt the production needed “motion”, which led to the creation of the now-legendary revolving stage, which gives the musical a “dynamic that is sculptural and not painterly” according to Napier.
He isn’t alone in his love for the revolve. When news of the original production’s end was announced, there was uproar from fans of the musical, who were sad to see Napier’s design leave the West End. A petition was set up, urging Mackintosh to retain it, which has attracted several thousand signatures.
“I find it interesting that people have observed or felt that the original production, in some way, has more gravitas,” he says, adding: “It’s truer in a way to the spirit of Victor Hugo. Trevor and John did an enormous amount of work with the writers Alain [Boublil] and Claude [Schonberg] on restructuring it, to create something rather unique in its day.” Nunn and Caird’s production has an “epic quality”, he adds, with a sense of “movement and travel”.
Napier is disappointed, to say the least, that Mackintosh failed to consult him on the newer show. “Having worked on the three productions that have been the furnace of his engine – what has become a multimillion-pound organisation – it would be nice if you were asked [to work on the new] interpretation, and not your assistant,” he says. That assistant was Matt Kinley, the designer of the new show, who worked in Napier’s studio for many years and “got jolly well paid for doing it”.
Napier says he would rather Mackintosh had chosen to put on a brand new production. “I would have been perfectly happy if it had been people with no association with the original in the first place. Therefore its originality would have been authentic. It’s when you have people who have worked on it before, that I find it a little bit galling.”
He continues: “I would have celebrated another production of Les Miserables – a new take on it. But it seems to me this is a fudged take on the old production. I am not wishing to do anything other than to say it’s a bit tragic that maybe a younger, more energetic and up-to-date group of creatives weren’t chosen. I would have celebrated that, I really would. Shakespeare gets reinvented every week of the year. It’s possible to do these things.”
The designer also reveals that, before the updated Les Mis began touring, he told Mackintosh he was not interested in doing new productions, but that he would always be available to revisit old ones. “Having worked on three of the longest-running musicals in the history of the 20th and 21st centuries, I felt it was time to hang up my boots and hand the baton to the younger generation,” he says, adding that he feels a duty to give emerging designers the chance to work on shows.
But Napier also feels his words to Mackintosh about turning down new shows came back to bite him. “Cameron took the word ‘new’ and put it smack bang on this production of Les Mis, calling it the ‘all-new Les Miserables’. How can anyone not feel churlish if that is the way the cookie crumbles?”
Though his own design for Les Mis will no longer be seen, Napier, a three-time Olivier award winner, believes its influence can be felt in shows today. He references Hamilton, with its revolving stage and exposed brickwork. “It’s not dissimilar to the original Les Mis, and all these things happen by osmosis,” he says. “I believe Les Mis set a bar for staging shows in a certain way.” He adds: “I wonder what will happen in five, 10 or 15 years’ time, when Hamilton needs to move to a smaller theatre.”
None of that will be Napier’s concern, however, and for now, he’s happy concentrating on his own art work. He’s hoping that an exhibition about his career, which went on display in Eastbourne in 2015, will make its way to London and is also writing an autobiography – though as he’s dyslexic, he says this is proving harder than he thought.
None of this is to say that theatre work in the future is completely out of the question. And referring to his recent reworking of Starlight Express with Lloyd Webber, he wants to make something perfectly clear. “I am not past my sell-by date,” he says. “I guess that’s what I am trying to say.”
The Stage

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  [ # 255 ] Datum: 07 februari 2019 12:46 PM
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Het speelschema voor de rol van Valjean is inmiddels bekend

Monday:  John Owen-Jones
Tuesday:  Alfie Boe
Wednesday matinees: John Owen-Jones
Wednesday evenings: Alfie Boe
Thursday:John Owen-Jones
Friday: Alfie Boe
Saturday matinees: Alfie Boe
Saturday evenings: Alfie Boe

Please also note Michael Ball will NOT perform on 13th & 14th September 2019 and Alfie Boe will NOT perform on 14th, 15th or 16th October 2019

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’...Once upon a time, lived a Princess and a Prince in Kingdoms Gold and Blue…’

http://www.theaterverslagen.blogspot.nl

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