Aww Soozy - I'm sorry it wasn't quite what you hoped it would be.   I can imagine how annoying it must have been not being able to see things properly (I've never been to an arena show, but I've always thought the theatre would be the better experience) Pretty bad form that you're not warned about the restricted view as you would be in a theatre.    I'm glad you still enjoyed it - I'd love to hear Tim Minchin now!    

I think that last week The Grauniad gave it one, or maybe two stars, and that's from someone who no doubt had a good seat.

I have heard just the same, unless you happen to be in the seats facing front you have no chance of enjoying the show.  You may have a case for a partial refund, you won't be the only ones complaining of an unfortunate seating position.

"Father, forgive them, for they know not what they do," cries an agonised Jesus on the cross. But it's the good lord, otherwise known as composer Andrew Lloyd Webber, who should have known better than to crucify his own child by presenting it in this arena format with a Jesus (Ben Forster) cast from a TV talent show, a former Spice Girl – Mel C – as Mary Magdalene, and Tim Minchin as Judas. Written by Lloyd Webber when he was 21 with lyricist Tim Rice, the show began life as a concept album and a US arena tour before Jesus conquered Broadway in 1971. It's a bold, brash show that boasts all the look-no-hands youthful glee that marks Lloyd Webber's early and best efforts, including Joseph and the Amazing Technicolour Dreamcoat. Taking it back to its roots is not a completely insane idea. But it requires a more imaginative, subtle and better acted and sung production than it gets here in Laurence Connor's revival. Connor conflates last summer's London riots and the Occupy movement to create a contemporary backdrop for the rise of a new political leader who threatens the status quo of capitalism and state authority. Giving the show a contemporary spin is fine, but the production substitutes decibels for drama, and the large cast crowd scenes appear to have been directed on the premise that if Jesus is coming, it's best to look busy. The revolution comes and goes with lots of cartwheels, the unimaginative acrobatic fall-back of the desperate director with a big space to fill. What you get is spectacle, but very little variety. The strength of the show is the score's tonal variations, swooping effortlessly from heavy rock to ballad, the emotional connections in the triangle between the tortured but disaffected Judas, the weary Jesus and the yearning Mary Magdalene, and lyrics that are well worth hearing. How could anyone fail to fall for a line that goes: "Prove to me you're no fool/Walk across my swimming pool." But we often can't hear the lyrics. This Jesus doesn't live, he merely deafens us, and although Forster makes plenty of noise, he has only two facial expressions (pained, or faintly smouldering like a bit of damp kindling) and he lacks the charisma to persuade that he could be the leader of a revolutionary movement. In fact the acting is pretty rudimentary throughout, although Minchin brings intelligence and desperate passion to Judas, even if his singing is sometimes compromised by the effort. Mel C is a strangely laid-back Mary Magdalene, relaxed to the point of blankness. It's left to Alexander Hanson as the dithering Pontius Pilate to inject some theatrical class into the proceedings, although it is Chris Moyles's leering turn as Herod, a game show host in red crushed velvet demanding the audience vote whether this Jesus is a fraud or a lord, which is the surprise success of an unconvincing evening.

that's very annoying, every member of the audience should be able to clearly see the stage!

It has crossed my mind TBH. I fully expected not to have the best view in the place but the view I had was incredibly distorted - it was like it hadn't been thought through very well.

GJ ^^^^ I'm so glad I didn't read that before I went. I purposely avoided any reviews as I wanted to judge it for myself. The critics often get it wrong - on this occasion I think ALW got it wrong.

 

Incidentally he was there last night and came and addressed the audience at the end - I can't help feeling that this was far too much of an ambitious project - it was, I feel ego driven.

 

I feel horrible saying that - but that's how I see it.

I can't stand stand ALW and all his works.Then I'm not a fan of musicals.

Actually I now feel horrible for posting the review. Bit of a spoiler perhaps for people who hadn't been. Sorry.

I guess they can choose to read it or not - I'm not sure if I would have done before the show but - if I had - maybe I would have tried to like it to prove the critics wrong.

 

I wouldn't feel bad about it.

that's what I heard.

 

It's a shame the view wasn't as good for you Soozy and yes for an obscured view £52 is very expensive but that seems to be par for the course these days.

 

I spend as much for concert tickets when I have no chance of seeing the band because everyone seems to stand in the seats these days, they all seem to be over 6 foot tall and when you're as small as me that means you see nowt 

 

On the bright side you enjoyed Tim Minchin so there was a positive 

 

Here's a bit of Tim for you Soozy 

I'm no expert, but I'd suggest reading the small print on your ticket. Theatres and even sports stadiums are normally expected to state if a seat is "restricted view".

You may have already known that your view wouldn't be "front on", but what you've said about "a large black box" (speaker?) and other "paraphenalia" implies that the problems go beyond this...

Thanks for the review Soozy. Your restricted-view seats sound a total rip off though  

pisses me off when people get fobbed off with shoite seats.

 

Took my mum to see Ultravox a couple of years back and she needs a disabled seat as she uses a wheelchair. 

All the Sunderland Empire did was take out one of the seats at the side next to the wall to allow the chair some space. 

 

Now this is all well & good & right-on & everything except when the show starts everyone stands up (naturally) so my mum had to sit through a show unable to see a single thing except peoples arses.

When I mentioned this to the booking office all I got was `well you cant expect people to not stand`

i replied no, I dont, I expect you to provide seating that allows someone in a wheelchair to actually see what you are charging them 40 odd quid for.... boils my piss it does 

Send them a rocket stating you travelled in high expectation etc.

 

And don't under-egg the pudding 

I'm composing my letter right now! I may even send one direct to the Lord himself 

     I don't think the Lord gives a stuff about his audience really.   I know someone who asked for his autograph once after a performance - he just about knocked her over shoving her out of the way saying he was busy. 

 

edit... forgot to add... he used the f word at her...  I was so disappointed, I'd always quite liked him.