562 posts
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Post by jadnoop on Oct 25, 2017 14:23:25 GMT
It looks like the dates for Annie Baker's JOHN at the Dorfman are now fixed for 2018:
It runs from January 17th to March 3rd.
Talks with Annie Baker, and Chloe Lamford/James MacDonald are on Jan 17th and Feb 1st respectively.
Can't wait!
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Post by QueerTheatre on Oct 25, 2017 16:13:48 GMT
Amazing! Where did you see this info?
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562 posts
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Post by jadnoop on Oct 25, 2017 16:16:46 GMT
Amazing! Where did you see this info? The ticket purchase links are on the NT website, albeit quasi-hidden away a little. First performance: www.nationaltheatre.org.uk/tickets/10745and you can see the various dates by changing the final numbers up until the last performance: www.nationaltheatre.org.uk/tickets/10791I don't know the way that the set up is in terms of the website and marketing at the NT, but presumably it means that an announcement must be coming very soon. I didn't find equivalent links for Macbeth or The Great Wave, but presumably the links will be up shortly since their talks are already listed. |
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Post by QueerTheatre on Oct 25, 2017 17:21:09 GMT
oh you are clever!
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14 posts
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Post by markmc on Oct 26, 2017 11:12:45 GMT
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367 posts
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Post by Ade on Oct 26, 2017 11:43:40 GMT
Think they are in the process of posting it all because the website is intermittently not working at all for me. Managed to get through to see the on sale dates etc though. 7th November for Priority - my card is going to be feeling the pain this month with Macbeth, John and Absolute Hell on sale. |
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367 posts
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Post by MrBunbury on Oct 26, 2017 11:59:44 GMT
Think they are in the process of posting it all because the website is intermittently not working at all for me. Managed to get through to see the on sale dates etc though. 7th November for Priority - my card is going to be feeling the pain this month with Macbeth, John and Absolute Hell on sale. By any chance, did you see when tickets are on sale for common mortals without priority? |
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562 posts
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Post by jadnoop on Oct 26, 2017 12:10:38 GMT
Think they are in the process of posting it all because the website is intermittently not working at all for me. Managed to get through to see the on sale dates etc though. 7th November for Priority - my card is going to be feeling the pain this month with Macbeth, John and Absolute Hell on sale. By any chance, did you see when tickets are on sale for common mortals without priority? 21st November at 8:30 (public) 13th November at 8:30 (advanced) 7th November at 8:30 (priority & young members) |
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Post by theatremad on Oct 26, 2017 16:58:21 GMT
I can't access at all to see anything, just a grey screen of nothing? Anyone else?
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Post by Deleted on Oct 26, 2017 16:59:59 GMT
By any chance, did you see when tickets are on sale for common mortals without priority? 21st November at 8:30 (public) 13th November at 8:30 (advanced) 7th November at 8:30 (priority & young members) 2nd November for the most loyal NT sisters They really are giving shorter and shorter notice |
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562 posts
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Post by jadnoop on Oct 27, 2017 11:58:24 GMT
Is there any news on the change of the cast since the start of the year?
It looks like it's a cast of four, who are listed on the NT website. But no mention of Georgia Engel, who the play was written for and who was supposedly already signed up when the NT originally announced at the start of the year.
I'm sure it'll be great either way. Presumably the role is now taken by June Watson or Marylouise Burke (the latter was amazing in Sideways), but it would've been nice to see someone who the play was written for, and has played the role already in the States.
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5,585 posts
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Post by lynette on Oct 30, 2017 19:49:19 GMT
Ok, so who has seen this play? Is it any good? Will I like it?
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562 posts
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Post by jadnoop on Nov 13, 2017 14:16:00 GMT
Does anyone know how spoiler-y the interviews tend to be, or if the interviews are recorded and made availale somewhere? I'm quite tempted to see the interview with Annie Baker on January 19th, but it's so early in the run that presumably very few people will have seen the play by then...
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2,347 posts
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Post by zahidf on Nov 13, 2017 14:43:56 GMT
Does anyone know how spoiler-y the interviews tend to be, or if the interviews are recorded and made availale somewhere? I'm quite tempted to see the interview with Annie Baker on January 19th, but it's so early in the run that presumably very few people will have seen the play by then... They are normally pretty spoilery and I would say its worth seeing the play beforehand |
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2,528 posts
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Post by n1david on Nov 13, 2017 16:28:43 GMT
Does anyone know how spoiler-y the interviews tend to be, or if the interviews are recorded and made availale somewhere? I'm quite tempted to see the interview with Annie Baker on January 19th, but it's so early in the run that presumably very few people will have seen the play by then... I have found that the moderators are quite good about asking the audience how many people have seen the play and then tailoring the talk to be more or less spoilers depending on the response, but there is always the risk that the moderator, or guest can let something slip - or even an audience member asking a question about a particular plot point. |
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Jan 4, 2018 13:49:54 GMT
They seem to have released more seats for this, including some £15 ones
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1,037 posts
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Post by jgblunners on Jan 4, 2018 14:17:11 GMT
The first and last 4 seats of row M in the pit are on sale to Entry Pass
I bagged one for press night, hoping the viewing angle won't cause too much of a restriction
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515 posts
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Post by callum on Jan 4, 2018 21:35:04 GMT
Yep - saw them too. Wondering whether to take seat closest to the stage (i.e. M1) to avoid leaners, though might compromise view? Will be my first time in the Dorfman
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Post by Honoured Guest on Jan 5, 2018 12:45:35 GMT
I sat in a restricted view Pit row M high chair for Barber Shop Chronicles. The restriction turned out to be a steel pillar in the off-centre of my view. The "high chair" feature was in fact a boon but the pillar was a real spoiler.
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Post by Deleted on Jan 5, 2018 14:24:57 GMT
I honestly wouldn't want to chance M1 for an end-on production, the sides of the Dorfman are so unforgiving that even booking the seat nearest the back so that I wouldn't block anyone by leaning loses a quarter of the stage. If it was a choice between M1 or missing out all together, I'd give the latter some serious consideration. Especially as the Nash is so good about putting returns up on the website, I'd definitely be willing to hold my nerve and wait for late availability, hoping something better was thrown up.
What one *could* do is book M1 now, then hope someone else is going really near the beginning of the run. If the bulk of the play happened in the centre of the stage, or it was heavily dialogue-dependent rather than visual, then M1 could be worth the gamble, and if early word-of-mouth feedback throws up more risks than you're willing to deal with, then you can always return the ticket for credit.
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515 posts
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Post by callum on Jan 5, 2018 14:50:48 GMT
Thank you Monkey and Baemax - I will hold off for now. That group of four were the only sets of Entry Pass tickets made available, but am flexible (and willing to cough up) enough to keep an eye out for regular seats in a better location.
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367 posts
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Post by Ade on Jan 18, 2018 7:40:03 GMT
Anyone see this last night? Mixed feedback on Twitter from what I can see.
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371 posts
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Post by popcultureboy on Jan 18, 2018 8:14:53 GMT
Anyone see this last night? Mixed feedback on Twitter from what I can see. I'm going tomorrow night, but the mixed feedback doesn't surprise me. The Flick was HUGELY divisive both here and in NYC, so I wouldn't expect a 3 hour 20 minute first preview of a slow burn sinister play from the same writer to be greeted with unanimous audience praise.... |
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Post by theatrelover123 on Jan 18, 2018 9:23:24 GMT
Where were you seeing the mixed feedback? I saw a couple of comments (from one person) under the #NTJohn on Twitter but nothing yet under #NationalTheatre. Scheduled to be going tonight but I am knackered so need to be swayed either way. I really enjoyed The Flick.
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Jan 18, 2018 9:54:37 GMT
More £15 or £18 tickets available for most performances if you want to take a risk on the restricted view ones
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Post by katurian on Jan 18, 2018 19:25:23 GMT
I saw the opening night performance and thought it was really fantastic.
I'd read the play already and I felt the production captured it perfectly. The performances, particularly of Kitty and Jenny, were perfect (although one thing I'd say is I think some of the actors need to speak up a bit, it gets very softly spoken at times and a struggle to hear). The set design is exactly as I'd pictured it, and the tone wonderfully captured.
I think her plays can be marmite, especially the long pauses and slow pace, and I could sense around me that some of the audience were perplexed and restless at times. There's a bit early on where the characters go upstairs and talk in an unseen bedroom, and we can't hear what they're saying. I've read the text and it says for this bit 'shouldn't' hear all of it', but actually we couldn't hear any of it, and the audience around me got very restless and confused and thought it was an error. However, just a small issue that can easily be rectified.
As a warning, there's a bit at the end of Act 2 where the lights go up for interval, but then a minute or two later a character comes out from behind the curtain and begins a monologue. I'd forgotten that this happened, so luckily I hadn't left my seat, but a chunk of the audience had already left and missed it, or only came wandering back in for the end. Maybe they need to tighten it up and have the character come out sooner, it left things a bit confused. I think that's just first night issues that can easily be addressed!
All in all, a few issues to be smoothed out, but this is a fascinating, beautiful play. It won't be to everyone's tastes, but I think it depicts a complex group of characters very astutely, it leaves a lot of room for thought, and it's also very funny.
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Post by andrew on Jan 18, 2018 22:23:57 GMT
Thank you Katurian for the warning, I would have spent that monologue in the bathroom.
As with The Flick, I was oddly captured throughout despite the slow pace and lack of action. I had a great time, but I’m not sure why. I’m not even really sure if I ‘got it’. But I liked it nonetheless.
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Post by barbra99 on Jan 18, 2018 22:31:02 GMT
Apologies but have to disagree with previous poster who loved this. We left at the second interval. I loved the Flick btw.
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1,016 posts
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Post by andrew on Jan 18, 2018 22:46:32 GMT
Apologies but have to disagree with previous poster who loved this. We left at the second interval. I loved the Flick btw. There’s no need to apologise for having a different opinion to me, we all make mistakes.  |
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Post by Deleted on Jan 18, 2018 23:35:00 GMT
This is a brilliant production of a wonderful play; rich, textured, meandering at times - pin-point in others. I fully expect it to be something of a curate's egg - it is very slow and specific and might not be for those with a more conventional taste in drama - but I adored it.
There is a sense of foreboding that hovers throughout; death, madness, ghosts, love, fidelity, childhood, music, the workings of the universe. I spent much of the play with my open heart in my mouth. I think Annie Baker is special - even though I struggled horribly with the production of "The Aliens" at the Bush a few years back.
Marylouise Burke (Mertis) gives a wonderful performance; she is effortless. I also thought Tom Mothersdale (Eli) brought exactly the right quality to the role - very even-paced, very subtle.
I think I also caught a glimpse of our very own Ryan (going by his avatar anyway), looking very dapper might I add.
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