Wait a while longer - the failure of CTH

[Gabby]

I did go to see CTH in its original run. It was a fun night out, and I recall the "vertical" bed scene impressed me at the time (not sure if that'd been done before, but for me it was a fresh idea).

The story wasn't as accessible to me as it might have been for others - but conversely, I suppose, I now understand how unrepresented the LGBTQ+ community can feel in various media, so that is absolutely not a complaint.

I do think it could have been more cutting edge though - I've seen a fair few musicals live, and some just "wow" you - this didn't. Even the majestic failure that was "Carrie - the musical" at least dared to be different.

[stussyboy]

There’s not many musicals I’ve been to where you have the pleasure of Louie Spence thrusting his groin into your face if you happen to have an aisle seat.

[Dog]

There’s not many musicals I’ve been to where you have the pleasure of Louie Spence thrusting his groin into your face if you happen to have an aisle seat.

Sadly lacking from Les Mis.

[telys]

There’s not many musicals I’ve been to where you have the pleasure of Louie Spence thrusting his groin into your face if you happen to have an aisle seat.

It happened to me. I was unprepared, scared the hell out of me. But naked bodies are never wrong so I quickly settled in for the ride.

[Sandy Shaw]

There was the great fun in the original run of watching the cast members change things around slightly and being even more risqué - especially for the last performance of Frances Barber as Billie Trix in CTH if I remember correctly!

[telys]

Neil and Chris had originally started writing the musical together with Jonathan Harvey in 1996. “We wanted to write something that wasn’t Les Mis or Rent,” says Chris. “A play about contemporary life with contemporary music that was not long and boring.”

[telys]

Neil and Chris had originally started writing the musical together with Jonathan Harvey in 1996. “We wanted to write something that wasn’t Les Mis or Rent,” says Chris. “A play about contemporary life with contemporary music that was not long and boring.”

Quote from one of the latest Pet texts. "How wrong they were".

[Nickname]

They simply needed to throw in West End girls, It's a sin and Always on my mind and the press would have favoured it much better and in turn, better reviews and a longer run.

That's a good point. Perhaps it's another proof of them not really knowing what they were doing. Didn't understand the necessity of being commercial. Not understanding the value of their back catalogue. I guess they do now.

I think they knew exactly what they were doing.

They wanted to create an original work rather than do a “We Will Rock You” and just invent a story around their hits. Of course the musical would have been more commercially successful if they’d have done that.

I think they chose the best option but it's what it is. A small musical focus on gay audiences.

I mean, I don't think a gay story couldm't go for a big audience but I think a big musical of Pet Shop Boys with all the hits should go for a wider audience.

[Capsigrany]

I guess it was an accumulation of bad points; not their best moment in terms of public status, a thematic directed to a gay audience in 2001 and not the best collaborators in my opinion (Harvey + the production team). In my opinion most of the songs were quite strong but they were put to work in a bad way. I saw it in 2001 after the re-issues record signing and it looked cheap and simple from the start. It was my first proper PSB disappointment.

[oakey]

Never got the hate for C2H. Saw the original with Barber and the 2019 revival with Chris in the audience. The music is great, the story is very funny and I love the gay theme. Musicals are always a bit cliché stories, and I like it that they did not go for a jukebox musical, but at least C2H is a musical about gay life rather than all other musicals that only have gay actors playing straight roles. It also resonated with me very much in 2001 when I was in my twenties exploring my sexuality. Even though it was on West End, it felt very much like an off-broadway type of thing (even more so when I saw the 2019 version).

[Whosematchesarethose]

I went to original screening in London and felt it was OK, I enjoyed the soundtrack. It was a really challenging period for PSB in general with Nightlife also stuttering (I liked it). I never forget Zoe Balls luke warm intro to I don’t know what you want on BBC. It’s all a process. I listened to Nonetheless yesterday for first time in a month and what an album..CTH played a part in getting us here..

[Gabby]

It was a really challenging period for PSB in general with Nightlife also stuttering (I liked it). I never forget Zoe Balls luke warm intro to I don’t know what you want on BBC.

OMG, I clearly remember that exclusive first Radio 1 play. She literally asked one of her cohorts on Radio 1 if the song was any good right after she played it, and the guy was like "Yeah, it's OK". Then they moved on.

So disappointing.

[oakey]

For those interested, the double red vinyl is still available:



https://maschinarecordseu.com/LP-Pet-Sh ... p450724815

I also like the Nightlife album and tour btw, it was my first PSB concert.

[Whosematchesarethose]

I am not sure I agree with the comments that adding the big hits would have changed things. I attended Nightlife at Brighton Centre with all the hits and it was half empty. In comparison Dreamworld at the same venue was rammed, I had great time both nights. At the time PSB were finding the next phase..which they certainly have now!!

[before]

In the long run it's proven itself not to be a failure - there have been several successful off west end productions since the original.

Shortly after it's initial opening in 2001 it was actually extended through to 2002 but that was obviously quite ambitious in retrospect. It was quite an ambitious show - PSB were unfortunately down in the dumper in the late nineties and Nightlife wasn't quite the success they'd hoped for with the singles faltering and the world tour underselling.

I also don't think West End audiences were ready for Closer to Heaven in 2001. It was brash, bawdy and sexualised and therefore nothing like a lot of other shows on in the West End. It might have fared better off west end but I'm still not sure the cultural climate was ready for that type of show.

Nowadays shows like Titanique and Oh Mary! are massively popular and have very similar humour to CTH but taken to more of an extreme. There are also operas about Grindr and plays about chemsex parties in fringe theatres and CTH seems pretty tame in comparison.