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re: Number 7

Posted by:
daveake 09:56 am MST 03/15/17
In reply to: re: Number 7 - daveake 09:55 am MST 03/15/17

7 down I mean, of course :-)

> & down 993 to go before Jim finally realises that he and
> everyone else involved have produced a masterpiece. :-)
>
> >
> > http://ilovemanchester.com/2017/03/15/review-bat-out-of-hell-the-musical-hits-all-the-right-notes.aspx
> >
> > Review: Bat Out of Hell The Musical hits all the right
> > notes at Opera House
> >
> > I was nearly hit in the heart by a missile during this
> > show - and that's not the only explosive thing about Bat
> > Out Of Hell The Musical
> >
> > Meatloaf’s Bat Out Of Hell has sold more than 43 million
> > so far and still shifts more than 200,000 copies annually.
> > So how do you turn one of the biggest selling albums of
> > all time into a musical? With motorbikes, real fire and
> > one of the most elaborate sets I’ve ever seen, that’s
> > how.
> >
> > Bat Out Of Hell The Musical brought it all on opening
> > night at The Opera House last night. Written by Jim
> > Steinman, the producer of the original record which was
> > inspired by Meatloaf’s love of Bruce Springsteen and
> > Wagner, it certainly is an ambitious undertaking. And all
> > eyes were on Manchester where the show premiered before
> > heading to London.
> >
> > The musical manages to follow the story behind the 1977
> > concept album, making it accessible to people who may
> > never have heard the songs before. It’s a tale of teenage
> > angst turned epic, following Strat (Andrew Polec) and his
> > group of bike-toting rockers, as he falls in love with
> > Raven (Christina Bennington), an 18-year old girl trapped
> > in an American nightmare of obsessive parents and excess.
> >
> > It sounds simple but the ambitious set works to magnify
> > every emotion going. A built-in escalator, cavernous
> > tunnel, a suspended room and mounted cameras beam this
> > multi-level activity onto a big screen recreating the
> > claustrophobia and crush of teenage surburbia so well.
> >
> > The set, designed by Jon Bausor, who has worked on many
> > large-scale productions before including Bugsy Malone, was
> > months in the making and it shows. I have never seen
> > anything like it.  An elaborate construction of the
> > American dream gone grotesquely wrong – and to great
> > effect.
> >
> > It would easy for the story to stay focused largely around
> > the rebellious Strat and his sense of having no one,
> > especially as the energetic Andrew Polec engages utterly
> > with the role.  Strat hovers from bold biker to tender
> > lover but rather than mimic Meatloaf, Polec brings his own
> > dynamism to the character, embracing the free spirit of
> > the music.
> >
> > The show is all about breaking boundaries and enjoying
> > sweet release and, thanks to an energetic cast and the
> > enigmatic Raven, the music manages to weave into a number
> > of subplots. Dance helps to drive it forward, a
> > significant achievement by Emma Portner, the youngest
> > woman in history to have choreographed a musical.
> >
> > Comedy is interlaced with contemporary comment on marriage
> > in the relationship between Raven’s parents Falco (Rob
> > Fowler) and Sloane (Sharon Sexton) using the well known
> > track Paradise By The Dashboard Light to explore their
> > passionate past.  Performed as a sensuous duet which
> > involves a striptease, a parked car and running
> > commentary, it reveals a great rapport between the
> > actors.
> >
> > Yes, there is cheese, but it’s well rounded. Think a whole
> > Stilton rather than a slice of own brand Cheddar.
> >
> > The first half of the show contains many memorable songs –
> > classic after classic. All Revved Up And No  Place To
> > Go, Wasted Youthand Who Needs the Young? are all in there
> > backed by a live band.
> >
> > But is it a case of too much, too soon? Well perhaps it is
> > but rightly so. Meatloaf’s album was considered ahead of
> > its time for its exploration of fame, excess and
> > controversy, so magnifying this in musical form brings
> > back the sense of scandal which originally accompanied the
> > tracks.
> >
> > It’s alluringly naughty and hits you hard. A car falls
> > into the orchestra, inches from the sears, with band
> > members getting on stage  to wave their mangled
> > instruments – an excellent piece of comic timing.
> >
> > Party poppers are also fired into the crowd (one hit my
> > shoulder) as part of Raven’s eighteenth birthday
> > celebrations, and members of the audience were covered in
> > silly string, glitter and streamers during the course of
> > the night. And then there was blood.
> >
> > Yes, that’s right, blood. The first half ends with a
> > passionate, powerful rendition of the title track Bat Out
> > Of Hell, showcasing both Polec and Bennington as highly
> > capable vocalists as well as actors. It would have been
> > wrong for the interval to be preceded by any other song,
> > and it certainly was an immersive experience with jets of
> > flame, showers of confetti and blood dripping from Strat’s
> > front.
> >
> > The first half went out on such a high I was left
> > wondering how the second part could live up to it. But it
> > did, picking up on some of the sub-plots from the first
> > half, including the intense relationship between Zahara
> > (Danielle Steers) and Jagwire (Dom Hartley-Harris) and, of
> > course, the loveable Tink (Aran MacRae).
> >
> > Steinman has managed to craft a musical not ashamed of of
> > its melodrama and capable of portraying characters with
> > whom we can empathise.
> >
> > The tracks It’s All Coming Back To Me Now and I Would Do
> > Anything  For Love make for an intense finale.
> >
> > I left feeling satisfied. This is a musical that hits all
> > the right notes.
> >
> > Bat Out Of Hell The Musical is at The Opera House until
> > 18th April
> >
> >
> > Sent from AOL Mobile Mail


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