115 posts
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Post by alexandra on Nov 13, 2018 10:58:43 GMT
You lot, honestly. I'm middle-aged and not especially blessed in the musculoskeletal fitness department, yet I have no problem sitting in the Pit for 2 or 3 hours, even in the sideways seats which in fact I like.
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1,846 posts
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Post by NeilVHughes on Nov 13, 2018 11:02:36 GMT
Never really had an issue with the seating at the Swanamaker, being a keen cyclist once having cycled 150 miles in a day, a small padded wooden bench is comparatively high luxury.
The only time I become concerned is if I see someone having maybe had one lunch too many shuffling in my general direction.
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1,846 posts
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Post by NeilVHughes on Dec 8, 2018 7:31:14 GMT
A few thoughts
Michelle Terry is a strong Lady Macbeth as expected, do not dare to argue as you have no chance.
As for Macbeth, there was a lightness at his core which couldn’t really support the transition to the tyrant he became.
The lighting, or lack of, the flickering minimised candlelight really gave the feel of being in a dark oppressive and sometimes claustrophobic Scottish castle, an experience in itself, there is a magic at the Wanamaker that is unique when the candlelight is at the core of a production as in this case.
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2,389 posts
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Post by peggs on Feb 4, 2019 19:24:49 GMT
I have experienced a new for Shakespeare, I actually enjoyed watching a production of Macbeth! As a blood fainter this play holds some problems for me and frankly I think studying it at school though I can remember nothing of that put me off it as a play. I've seen a Macbeth before that I thought excellent (Chichester Patrick Steward Kate Fleetwood one) but I was terrified throughout it (not necessarily a criticism) and only stayed because I was trapped in the middle of a row. This play could have been written for this space, in candle light and often a single candle at that it was suitably uncomfortable, disquieting and thrillingly intimate. The red stuff did feature but for reasons that I couldn't explain wasn't an issue and the witches drawn by lots from the existing cast gave me the impression that they might in fact not have been there, rather thoughts, ideas already in other's minds, rather than the stuff to send me walking back to the train jumping at shadows. I haven't been to this venue sufficiently yet that they lighting and tiny size fail to beguile me and it played very much as if the audience were the sort of wider court, I always a kick out of making eye contact and having lines said to you as it were in the outdoor space and it's no less spine tingling here. The reverberating sounds and the way in which the cast pop out of the doors through the seating made it all feel very immediate and involving.
I enjoyed Paul Ready's Macbeth, no obvious warrior, turned in one great speech from his firm decision not to kill to kill. As a couple the Macbeths convinced which made all the more sense of why post murder when Macbeth isolates himself that they both start falling apart. Michelle Terry's Lady Macbeth moved from almost gleeful delight in the prospect before them through to such rejected haunted vulnerability.
Couldn't really be more different direction wise from the Almedia Richard II I saw the same day but both featuring actors who seem able to make the language seem at once beautiful and a wonder and yet accessible, normal.
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