4,159 posts
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Post by HereForTheatre on Mar 2, 2018 9:06:24 GMT
**Several posts have been edited or removed from this thread after a complaint. Please try and remain on the subject of the play itself.**
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1,216 posts
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Post by Steve on Mar 5, 2018 12:43:13 GMT
Saw the Saturday matinee. I loved this. Less sense, more sensibility, powerfully directed (verging on over-directed) this claustrophic, insightful take on William's play about body and mind is set almost entirely in Alma's mind, with an excellent atypical naturalistic performance from Patsy Ferran. Some spoilers follow. . . To me, this felt like a diametrically opposite take on the play, about the horror of mind and body disconnection, to the West End Rosamund Pike version. That version was all body, this version is all mind. Rebecca Frecknall sets much of the play squarely in Alma's head, by having her under a spotlight, addressing her dialogue into the ether, while characters she is talking to lurk behind her in shadow. The effect is discombobulating, and will be irritating to some, but I found the approach, which echoes the thematic content of Tennessee Williams play, by explicitly dividing mind from body, powerfully effective at suggesting just how much of our worlds occur in our own heads, rather than in an objective reality. Patsy Ferran's Alma begins with a scream of panic, suggesting the pain and fragility of her divided consciousness, whereby she is all soul, and no body, and her Alma claustrophically continues in a level of fear induced internal panic for much of the play. The lack of naturalism in presentation extends to the lack of a set, and the shadowy lighting, with the Almeida stage being more lonely alienated cave, of the mind, than at any time since Simon Stephen's "Carmen Disruption." Until now, I have most appreciated Ferran for her incredible physical and verbal comic dexterity,with her Speech and Debate, My Mum's a Tw*t, As You Like it and Blithe Spirit appearances standing out in my mind as tour de forces of comedy acting. But here, her comedy bones are harnessed, and Ferran's Alma, while having traits, of hysteria and nervousness, that some might consider funny, comes across as deeply empathetic, and desperately trapped. Alma's love interest, Matthew Needham's dark and restrained John Buchanan is considerably more threatening than Chris Carmack's more overtly flirty and sexual West End version, as befits a production squarely centred in Alma's psyche, reflecting her fears. There is fantastic support from Nancy Crane, as the epitomy of the unrestrained, nightmarishly sensual, ice-cream-licking, person that Alma fears, and from Anjana Vasan (who I will always love for being Hermia in Emma Rice's debut Globe prodction), who sings an exquisite version of Portishead's "Glory Box," as good as the version I heard from Portishead themselves, when I saw them in concert. All in all, the extreme direction of this show will make it a marmite production, that many will reject for it's rejection of naturalism (I myself felt constrained at points), but which others will love for delving deeply into Williams' thematic concerns, presenting them from the inside out. 4 stars.
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3,086 posts
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Post by Rory on Mar 8, 2018 8:56:40 GMT
The early reviews for this are superb. Looks like the Almeida has another big hit on its hands.
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Post by bordeaux on Mar 8, 2018 12:34:07 GMT
Still plenty of seats available. Just got a couple for 31st March.
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Post by NeilVHughes on Mar 8, 2018 12:54:46 GMT
4to5 Star reviews all round.
Pleased to have booked already, looks like a good alternative for all the people who returned their Macbeth Tickets.
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Post by crowblack on Mar 8, 2018 14:52:24 GMT
I booked a while ago, luckily - had to reschedule from a preview to the last day because of the weather so I won't look through your comments, but I think Patsy Ferran's already one of those actors who make anything worth seeing!
I've just looked at the website and many dates are now sold out - I wonder if it will transfer?
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3,086 posts
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Post by Rory on Mar 8, 2018 17:51:37 GMT
I booked a while ago, luckily - had to reschedule from a preview to the last day because of the weather so I won't look through your comments, but I think Patsy Ferran's already one of those actors who make anything worth seeing! I've just looked at the website and many dates are now sold out - I wonder if it will transfer? I'd be stunned if it didn't transfer given the number of 5* raves and the sellout which will probably occur imminently. Mind you, I think I said that about Albion too....
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3,086 posts
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Post by Rory on Mar 8, 2018 17:53:40 GMT
I would love if the Almeida would consider some further live cinema relays after their foray a few years back with Ralph Fiennes. So much good stuff there.
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Post by n1david on Mar 8, 2018 19:00:37 GMT
I would love if the Almeida would consider some further live cinema relays after their foray a few years back with Ralph Fiennes. So much good stuff there. I think the main problem is that the Almeida doesn’t have easy facilities for this. Last time they did it the whole street was closed for close to a week for the satellite truck setup, so it’s incredibly disruptive to local residents and businesses. They don’t have the free space around the theatre that, for example the NT does. It would be less disruptive to film without the live relays and later broadcast, but that’s not as immediate.
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Post by MrBunbury on Mar 8, 2018 19:51:43 GMT
At the cost of sounding schizophrenic given my previous misgivings on this production, I am very happy to see it so well-received. And reading the reviews, I understood the meaning of the set and some details I had not actually seen (kind of worrying since I was in the stalls...). I hope Patsy Ferran will be remembered when award season comes.
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Post by Deleted on Mar 8, 2018 21:19:54 GMT
Saw the production last week, and am thrilled to see it has been given such a warm and positive response - including several absolute raves; four and five stars across the board!
Other - that is - for a rather flat 3 star review from Fiona Mountford in the Evening Standard.
It struck me as a little bit surprising that Mountford didn't go for it in a big way; she is generally one of the more supportive voices for female directors, and for Frecknall this is a big opportunity (which general consensus would suggest she has taken with both hands.)
I wonder if Mountford's tepid response to the production might have had anything to do with the fact that her interview for the Evening Standard with Patsy Ferran got spiked by the Almeida in favour of a more appealing feature on Patsy that ran in the Sunday Times Culture a couple of Sundays back? Who can say for sure - perhaps she just didn't like the Almeida production - but I've heard a few stories that indicate that FM has been known to not hold back when bearing grudges previously.
As far as I am concerned the design, the sound, the music, the direction, the performances - everything aligned very cleverly and neatly, and Patsy Ferran and Matthew Needham were particularly wonderful.
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Post by popcultureboy on Mar 8, 2018 23:40:33 GMT
Still plenty of seats available. Just got a couple for 31st March. Not any more. Entire run now sold out. Good for them.
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Post by stefy69 on Mar 9, 2018 6:56:53 GMT
Still plenty of seats available. Just got a couple for 31st March. Not any more. Entire run now sold out. Good for them. ,,and judging by the reviews I would think a WE transfer almost certainly on the cards.
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371 posts
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Post by popcultureboy on Mar 9, 2018 7:54:32 GMT
I would imagine that's being explored, but it might be stymied by the lack of an available house. The Gielgud, Wyndhams, Coward, Duke of York's, Pinter, Theatre Royal Haymarket, Apollo, Duchess, Lyric, Vaudeville, Ambassadors, none are immediately available.
WAIT.
Trafalgar Studios 1 isn't programmed after Grinning Man closes on 14th April, which is a week after Summer & Smoke closes at the Almeida. I wonder........
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Post by Rory on Mar 9, 2018 8:41:15 GMT
I would imagine that's being explored, but it might be stymied by the lack of an available house. The Gielgud, Wyndhams, Coward, Duke of York's, Pinter, Theatre Royal Haymarket, Apollo, Duchess, Lyric, Vaudeville, Ambassadors, none are immediately available. WAIT. Trafalgar Studios 1 isn't programmed after Grinning Man closes on 14th April, which is a week after Summer & Smoke closes at the Almeida. I wonder........ Very possible but I would imagine that Summer and Smoke would face stiff competition for a West End venue from The York Realist which will no doubt also be looking to transfer (and if the Donmar isn't considering one, it really should be). It's true that very few houses are now available. Apart from Trafalgar Studios on 14th April (do we know if The Grinning Man is definitely closing then and do we know if Panter and Squire from Trafalgar Entertainment are receiving external shows?) the next scheduled free theatre is the Ambassadors from 2nd June. And there was also Baz Bamigboye's piece a few weeks ago that Adam Speers from ATG was looking to transfer Caroline, or Change from Hampstead. Where could that go now? The Piccadilly in late July if Strictly Ballroom doesn't extend further (but I'd say it will)? Or could it get the Trafalgar Studios? I had presumed that Caroline would go to the Pinter but Consent has now nabbed that slot. All very interesting.
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Post by quine on Mar 9, 2018 21:51:22 GMT
I saw this on Tuesday and was blown away by Patsy Ferran. I felt so lucky to see such an exquisite piece of theatre. It reaffirmed my love of Tennessee Williams and marked Rebecca Frecknall as a director to watch. Forbes Masson's vocal performance was also a revelation to me. Oh this will be hard to beat and Patsy Ferran deserves best actress nominations by the bucket.
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Post by david on Mar 9, 2018 23:30:11 GMT
Just got back from seeing this tonight. Wow! A great piece of theatre. It’s simple staging allowed the text to shine and with great performances by all the cast. Not a weak link in any of the performances. Surely this has to have a life outside the current run.
Totally agree with quine’s comments about Forbes Masson’s vocals. I definitely was not expecting that! I was also very impressed with Seb Carrington’s piano playing throughout the play.
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Post by caa on Mar 14, 2018 20:40:22 GMT
I tend to avoid praising actors if I can help it as theatre is a collective art form, but seeing Patsy Ferran last night, it felt like a privilege to see her perform, even the toes on her feet were in tune with her portrayal, a wonder to behold.
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Post by peggs on Mar 17, 2018 18:01:15 GMT
Oh @theatremonkey as I was leaving today I walked past Patsy ferran just as she was saying 'someone asked why are their extra pianos?' and I didn't pause to find out if she supplied the answer 🤔
Didn't know the play and don't think of myself as TW fan and reading this thread am now going ohhhh a bit but that was good. Beautiful music, lighting, intriquing set and Patsy Ferran is amazing and well supported all round.
Now heading out of London and noticing alarming amounts of snow, prob just as well didn't win anything tix lotteries for this evening.
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Post by Deleted on Mar 17, 2018 20:40:26 GMT
You know
When the actors are barefoot
And there is no set
A production is rammed so far up its own arse
Arrogance has taken over
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Post by Deleted on Mar 17, 2018 22:00:02 GMT
Blimey, if the only negative parsley has for a production is a vague abstract, you know it *must* be good!
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2,389 posts
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Post by peggs on Mar 17, 2018 22:20:31 GMT
I did wonder about the lack of footwear.
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Post by Deleted on Mar 17, 2018 22:52:16 GMT
I did wonder about the lack of footwear. The lack of any sort of set Really put this production at a massive disadvantage Particularly when the text refers to particular things Which are not present on stage In the end the acting does triumph But the first 20-30 mins suffer due to the crappy scrappy staging
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Post by stevemar on Mar 17, 2018 23:44:07 GMT
This was very good indeed. Perhaps I wasn’t as moved as I hoped by Patsy Ferran’s character Alma, but her performance and that of Matthew Needham were excellent. I thought this was very original with the use of the pianos. I agree that some slow walking and microphone work might sound pretentious, but it worked and the concept did not overwhelm the superlative acting. Almeida back on track.
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Post by stevemar on Mar 18, 2018 0:57:08 GMT
Oh @theatremonkey as I was leaving today I walked past Patsy ferran just as she was saying 'someone asked why are their extra pianos?' and I didn't pause to find out if she supplied the answer 🤔 Lol, I walked past Matthew Needham today in the foyer after the matinee. All I caught was “if we transfer to the West End, she....” That snippet is of no consequence though, and probably worse than the jumbled up jigsaw featured in the play.🤭 Peggs and Theatremonkey - the answer isn’t here re 9 pianos, but some interesting information almeida.co.uk/composing-summer-and-smoke
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Post by Deleted on Mar 18, 2018 9:24:09 GMT
I appreciate that I'm in a minority of one here, but I thought this was the most pretentiously dull two hours I have ever had the misfortune to sit through, enlivened only by Patsy Ferran, who is indeed a magnificent young actress. The guy next to me (youngish, mid-thirties) was nodding off throughout and I struggling to keep my eyes open. If some insane producer decides to transfer this to the West End, shirts will be lost. Still one man's meat and all that, plus we did only pay £10 for the row F bargain seats.
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Post by Deleted on Mar 19, 2018 10:18:50 GMT
Well. I thought it was really rather good. Although those people with podophobia should probably avoid it at all costs. There's nary a shoe in sight for the whole play. Although it does give the cast every opportunity to do some of their best toe acting.
Unless you count a few pianos and a couple of chairs, there's no set to speak of but it doesn't matter. The cast get to do that "let's pretend there's a door" acting which is nice. The acting is wonderful and there really isn't a bad one among 'em. Patsy Ferran rightly is getting all of the plaudits and it's quite a marvellous performance (it's really the first time I've seen her where I've considered her an 'adult') but for me the thing is stolen by Matthew Needham. I think his character arc is developed much better than Patsy's and he has the much more complex character - he's dark, sexy and a little dangerous to start with before the story takes his character elsewhere. And when he drops his voice to speak into the microphone, my goosebumps got goosebumps. Nancy Crane offers great support and Anjana Vasan successfully manages to play very different characters very distinctly.
But the real standout for the play is the sound and the lighting, especially the sound. The pianos are used to quite the most brilliant effect and there's a marvellous moment when they become fireworks which is fabulous.
And even thought it was like -20 outside, I still fancied an ice cream at the interval. Damn you Nancy Crane.
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Post by andrew on Mar 20, 2018 14:58:54 GMT
Really struggling to get seats for this. Tried the rush today but it’s basically impossible to do it on a phone, you’re told to enter a promo code of RUSH once you’re through the queue but then absolutely nothing happens, you try again and now you’re back on the almeida homepage out of the ticketing system altogether. Other than religious dedication to the website for returns, are there any other ways of getting in?
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Post by Deleted on Mar 20, 2018 15:28:39 GMT
Really struggling to get seats for this. Tried the rush today but it’s basically impossible to do it on a phone, you’re told to enter a promo code of RUSH once you’re through the queue but then absolutely nothing happens, you try again and now you’re back on the almeida homepage out of the ticketing system altogether. Other than religious dedication to the website for returns, are there any other ways of getting in? Members have access to sold out shows Dependant on level
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Post by Phantom of London on Mar 20, 2018 21:46:53 GMT
I have had limited chance to see this because of my work commitments and some slots taken up by other shows, got caught cold by this and couldn’t get a ticket completely sold out, As left it too late and been looking for a good couple of weeks, also I underestimated the demand for this, as it is obscure Williams’ play, so thought this be a easy ticket just like In A Tokyo Bar at Charing Cross. Hard lesson for me.
So hoping and encouraged by rumours this could transfer, I know Theatre availabilty is poor but could slot in after Quiz/King Lear/Consent or the Ambassador seems a good bet too.
Got lucky with the King LearQuiz transfer which I missed in Chichester.
Everything crossed.
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