I was in London last week and I caught Matilda. Before it comes to New York, I suggest you do some major sound engineering. I suggest you do some major sound engineering and diction coaching on some of the actors whilst in the West End as well. I couldn't catch half of the dialogue and most of the lyrics were unintelligible.If you think I have poor hearing I don't. I caught every word of Broadways Jesus Christ Superstar, Priscilla Queen of the Desert and One Man Two Governors. I hope you get a major sound designer before it comes to New York because the sound on the West End was unacceptable. . It totally marred whatever enjoyment I would have had. Because I couldn't decipher half of the dialogue and lyrics, I did not enjoy the musical and would not recommend it to people in new York unless this is fixed. In fact, I was there for a major investor and I had to report a pass on this project. I did hear every word of dialogue from Ms Trenchbull and Matilda's father and mother but could not decipher much aside from that. . So great sets aside.. I couldn't believe that sound passed muster in the West End and that you haven't had more complaints. The understudies were on for Trenchbull and Ms. Honey. The Trenchbull understudy was excellent. There was no show without him. Aside from the sets, and Matilda's Parents and Trenchbull... Matilda is quite overrated.
I mean if you couldn't understand the lyrics and dialogue, it doesn't seem unlikely that you would not enjoy the show because you haven't engaged with the text. Listen to the cast recording, and listen to the intelligent and witty lyrics before passing judgement, I think.
I've seen the show twice and I couldn't understand anything the adult ensemble sang - the child ensemble yes - the adult ensemble no. And the sound in general was terrible both times I saw it.
To Ullabelt. You mean I have to invest in a ticket to a show, spend precious time watching it, invest in buying a cd, spend time listening to the cd and study its lyrics to decide if I like it?
I don't think so. I am a theatregoer. I should be wowed as I am watching in the audience at that moment as I was with Book of Mormon, Priscilla Queen of the Desert, The Producers, Wicked and others. There was no studying involved with the above nor an investment of time.
I think the producers owe it to their audience to make sure their show is audible. I am not going to spend countless hours doing all of the above to decide if I like something,
You mean I have to invest in a ticket to a show, spend precious time watching it, invest in buying a cd, spend time listening to the cd and study its lyrics to decide if I like it?
I don't think so. I am a theatregoer. I should be wowed as I am watching in the audience at that moment as I was with Book of Mormon, Priscilla Queen of the Desert, The Producers, Wicked and others. There was no studying involved with the above nor an investment of time.
I think the producers owe it to their audience to make sure their show is audible. I am not going to spend countless hours doing all of the above to decide if I like something
Not at all. But I think your claim was stronger than simply you "didn't like it", I think by saying the show is overrated you were making a judgement about the quality of the show, and I think it would be difficult to support that claim if you couldn't engage with the text. The main issue here is the sound issues.
I don't know why the OP was acting for an investor at Matilda, as it has its producers already: The RSC and Dodgers.
Acoustics come into it a bit - I am sure the sound will be reworked for the Schubert Theatre. Minchin's lyrics are also incredibly words and fast (more so than One Man Two Guv'nors, Jesus Christ Superstar and
It also all depends which human being is running the sound desk at any specific production.
So aside from the Trenchbull (or Trunchbull, even), the sets, the 2 other main adult leads (let's not forget the multitude of Olivier awards, 5 star reviews and the fact it's made its investment back already [something of huge importance to your investor whom you've advised not to invest in the show]) you feel the need to not be impressed by the show.
Exactly, and im sure if Matilda had got negative reviews you would be saying reviews mean nothing.
I think there was some mention (possibly by Baz in the Mail) about Matilda making its investment back.
Matilda is a very good show, but it is not the second coming which is how some people seem to be portraying it. Overhyped is possibly a better word. I enjoyed it, but wouldnt rush back and some of the music is very forgettable.
Whilst I personally didnt have an issue with the sound, it is a very common complaint so there must be issues.
Saying this as someone who has some sound engineering experience (operating not designing), I would agree that the sound quality on this show is not good, not the worst in the West End, and I heard worse on Broadway, but it is not good.
The operator on the day plays little role in the quality as it is an automated desk with pre-set queues, HOWEVER, the operator does "tinker" during the live performance to account for someone or something being quieter or louder than usual, this can have an effect if there is an EQ effect process on a voice and then somebody speaks or sings louder than the settings, but this does not account for a whole show sounding muffled.
I feel the reasoning here is that of The Cambridge Theatre itself. The acoustics in the building are terrible and carries a lot of natural reverb that it is difficult to account for, there sound system (IE fixed speakers, rather than any a production company may bring in) is also pre-historic and does not match modern requirements when you are mic'ing a cast of this size, especially as I believe Matilda is one of the few West End Shows not to use click tracks (something they should really be applauded for) but this need to then microphone everyone and everything also weakens the chances of a good sound quality.
So, the fault here is not with the sound designer I feel, but the fact they are in a theatre with poor acoustics and below standard sound equipment!
My vote, we get rid of electronic instruments and then we can scrap sound systems all together and go back to a time where actors had to project and we had to have large, REAL orchestras, and then every theatres sound will improve as almost every west end theatre (due to it's age) is designed to carry human noise, not amplified sound! ...Essay over!
If the MU wasn't as powerful in the UK and composers would write music that doesn't need to be screamed (admittedly Matilda is not one of those kinds of scores, but you know what I mean...) we'd see a lot more real orchestras in town. I'm sure Nick could advise on exactly how many keys there are in the pit at the Cambridge (my programme's at home so I can't check myself).
We probably wouldn't see shows like Ghost if we went back to a totally acoustic sound!
Thanks for the general technical explanation. I had often thought that it couldn't be entirely down to the sound operator, as all they can really do is adjust levels. When I saw Matilda at the back of the dress circle the sound was crystal clear - but if you knock up the levels on someone's mike to compensate for bad sound in other places I'd have probably been deafened.
But I did read once (BWW Broadway) that the sound quality is a lot more clearer if you sit in the open part of the stalls, rather than in the stalls under the circle, there is a noticble differents in sound quality, which I have witnessed myself, since mentioned.
I sat in the open part of the stalls row K on the side. K 28 I believe. The sound should have been great there.
I saw Porgy and Bess on Broadway Tonight. The sound was amazing. Heard every single word and lyric. Perhaps West End can Learn from Broadway Sound Technicians or acoustics engineers and whatever they called themselves.
Shame on those Matilda Producers for not paying attention to this. And agree .. Matilda is NOT the second coming as The Book of Mormon is, as Producers was and Hairspray was.
It wil be interesting to see if America takes to Matilda as Brits do. I for one did not.
Let's hope they don't take their lesson at The Winter Garden then. A few years ago I spent a lot of money on Mammia Mia. Center aisle, 7th row from the stage. HORRIBLE SOUND. Had to cover my right ear several times during the show. It was literally painful.
Edit : in the WestEnd I can only think of Buddy at the Strand with a "bad" sound from where I was sitting. The second act was soooo loud.
@Goldenboy - Perhaps your anger should be directed DIRECTLY at the producers of the show rather than coming on here and doing nothing but try to make yourself out to be some big wig. No one really cares or is impressed.
I was only "sharing" the experience I had at the Winter Garden to make the point that just like in the Westend also on Broadway sometimes you get bad sound quality (for whatever reason).
edit : It was a reply to someone writing "Perhaps West End can Learn from Broadway Sound Technicians or acoustics engineers"
I saw it a few weeks ago and heard every word. But I think that Goldenboy just didn't like it...takes all sorts...But I have no confidence in his opinion. I know loads of Americans that has seen it and adore it. Based on their experience this will be huge on Broadway.
Reviews from Trip Advisor. None of whom are me One also notes the poor sound quality.
“Definitely Overrated” 3 of 5 stars Reviewed July 18, 2012 1 person found this review helpful
Don't get me wrong - the show is good. But definitely not as good as people are making it out to be. I was seriously expecting something else completely. I found myself getting a little bit bored at times and some characters (Mr Wormwood and Matilda's brother to name a few) really annoyed me. They made me feel like I was at a pantomime, which is not what I expect when I go to see a Westend musical. I just don't think it is truly deserving of the massive hype surrounding it. But if you do go, I hope you enjoy. Afterall, everyone is different.
“Good music, script needs tightening” 3 of 5 stars Reviewed July 26, 2012
I love the soundtrack and have been listening a lot since seeing the show. Things move along for a good while, but then it slows down. Everyone loves the evil headmistress, but I got a little tired of her. And, suddenly, 3/4 through the show, they finally bring in some interesting new plot twists, but they should have been more thoroughly integrated earlier. Having said that, there's some good sets and staging, the good songs, and most will probably have a good time.
“Good night out” 3 of 5 stars Reviewed July 29, 2012
I'm not a massive fan of musicals so please bear that in mind. Also, we didn't have great seats. Ok, here's my review. Good - songs good, good performances, nice story, amazing set design, good wow factor to most of the dance bits, good atmosphere. Bad - poor sound (I couldn't hear the words), but the biggest minus for me was the lack of a big showstopping song. The standard of songs was good but there wasn't a big number to send you out humming.
“Disappointed” 3 of 5 stars Reviewed August 4, 2012
Love Roald Dahl and enjoyed George Marvellous Medicine as a show but I was disappointed with Matilda. Perhaps it was all the hype that made my expectations so high but as a show it was okay but nothing I would be in a rush to return to unlike the Lion King which is so magically I would return again and again. Visited July 2012
I agree that the sound on this show is not necessarily the clearest, but forgive me if I make a few corrections to an earlier comment...
Every West End show in town has a complete sound system designed by a designer and hired in. So to blame out-dated equipment at the Cambridge Theatre is incorrect.
Also, every Musical these days mic's every single cast member, so suggesting that bad acoustics has forced the sound designer to mic every cast member is incorrect. The way the sound is pre-programmed makes it easy to balance large numbers of microphones.
I think you mentioned Matilda does not use click tracks, this is also not true.
So to blame the theatre and not the sound designer for the sound quality is incorrect. Each designer has a different set of ears, as do the audience. What some people may like, others don't. In my opinion it is a little too much reverb on most of the vocals, and the EQ could be a little crisper. This would improve the fact that some of the fast lines and lyrics in the show are sometimes unintelligible...
In answer to someone else's question there are only two keyboards in the pit.
People are moving away from keyboards and synthesisers to fill in the gaps by missing instruments these days, and moving to click tracks.
Not only do click tracks improve vocal quality in big dance numbers, recording real instruments in a studio and mixing them in with live instruments in the pit creates a much better and realistic sound than synthesised sounds on a keyboard. I'm very much in favour of using click tracks, and I think we're going to see a lot more of them in the future. Not just traditionally for boosting vocals, but for boosting the orchestra.
It is also a common mis-conception that mixing the show is simply playing back pre-recorded cues. It isn't. The pre-recorded cues are there to help the operator manage the sound more efficiently and have everything they need at their finger tips. Yes, the orchestra don't usually need much tinkering with unless there are different band members from the original in the pit. But every line you hear in a theatre is mixed live, with operators cutting microphones in between lines to ensure the highest sound quality possible. Different audiences affect how the show sounds every night, and it is the sound operators job to mix the show and ensure that it still sounds the same as press night every night.
Audiences expectations of live sound are so high these days, as we are used to overproduced music on our ipods day to day. People forget that live sound isn't going to be CD quality, it can't be. But shows are doing their best.
I would agree the sound design is not good. I had a really hard time trying to make out the lyrics when I went to see the show last year (for the record, I was at the very back of the theatre, on the highest tier and in the last row, so that probably wouldn't have helped...but still...). Any time there was an ensemble song I was completely lost. It probably did hamper my experience of the show, which I didn't enjoy nearly as much as I thought I was going to given the reviews and the fact that Dahl's book is my favourite children's book of all time.
Drama Desk Award Winners - MATILDA, VANYA AND SONIA, PIPPIN, VIRGINIA WOOLF & More!
STAGE TUBE: MATILDA Cast Performs on The View!
TV: See the Cast of Paper Mill's THE LITTLE MERMAID Fly!
CHUCK Star Zachary Levi and Krysta Rodriguez Set to Lead FIRST DATE
Paris SUNDAY IN THE PARK Now Available For Download
VIDEO: Joss Whedon Chats THE AVENGERS 2 on LATE NIGHT WITH JIMMY FALLON
Rihanna for River Island Summer Collection Lands May 25th
Exclusive InDepth InterView Audra McDonald Talks GO BACK HOME Album & PBS Special, MARLENE DIETRICH'S ABC, Upcoming Projects & More
Donkey Kong Country Returns is Back and Optimized for Portable Play
BWW Blog: Leah Edwards - Practice. Perform. Repeat
BWW Reviews: Millepied, Wheeldon and Martins - A Mixed Bag for City Ballet
BWW Reviews: BMOP Presents Reza Vali's TOWARD THAT ENDLESS PLAIN
joined:7/15/05
Posted: 8/1/12 at 02:39am