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Post by Dave B on Sept 26, 2019 9:19:22 GMT
General tickets on sale today. A short queue (sub 10 minutes) and a decent selection of seats across prices. Generally find the stalls restricted view in the Almedia pretty good so that's what I got for us for £10
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5,495 posts
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Post by Baemax on Sept 26, 2019 9:29:32 GMT
I wasn't sure if I wanted to see it but my favourite "restricted" £10 ticket was available for a decent-looking date so I'll give it a bash.
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5,495 posts
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Post by Baemax on Sept 26, 2019 9:41:14 GMT
Somewhere else. If you're sat behind only one pillar and the staging is relatively central, then you can sometimes lose as little as absolutely nothing at all. There is only one seat that is so consistently fantastic though, and I'd hate the box office to realise what an unwarranted bargain it is, so I'm going to take you up on your implicit invitation to keep precise details secret.
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Post by crowblack on Sept 26, 2019 10:08:13 GMT
I'm going to take you up on your implicit invitation to keep precise details secret. I think I know the one - I had it for Ink (where I also found myself sitting next to Andrew Marr and Amanda Platell, though not in the pillar seats obvs!) - but for some reason I can't access my past account details on the site to check the ones I booked today are the same.
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Post by tmesis on Sept 26, 2019 13:48:21 GMT
I also think I know to what you two are referring. I often book one of the £10 'pillar' seats. Each to his/her own but the presence the 'obstacle' has almost no effect on my enjoyment. In fact I recently saw The Doctor under such circumstances. Really anything is worth a punt there at such an amazing price.
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2,946 posts
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Post by crowblack on Sept 26, 2019 14:07:19 GMT
I was surprised they're still available, even on dates when most of the stalls seem to be sold - do they hold them back for public sale day? Very nice of them if they do!
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Post by theoracle on Sept 28, 2019 11:17:50 GMT
Got my ticket for A12 in the stalls. Won’t be too close will it? Very excited. Haven’t seen a Jacobean tragedy in a while
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Post by Forrest on Sept 28, 2019 13:15:56 GMT
I got my ticket as well. A £10 one, hopefully behind one of those good pillars that you are discussing. theoracle, I don't think you need to worry about being too close to the stage at the Almeida. There's usually (from my limited experience at least) no need for head-tilting or anything like that there, it's a great space.
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Post by theoracle on Sept 30, 2019 22:19:53 GMT
Thanks eveyone. I think the front row is AA so Im in the second row. Seeing it for NYE, perfect way to end the year.
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Post by Jan on Oct 1, 2019 10:54:05 GMT
If I go for the expensive seats, I always go front row (they may add a row in front of A - but will tell you so you can move if you want) or from E back when the seats are stepped. Never B to D as you can't see round people in front. Normally the stage is very low, and A is worth it for the view. As they usually put the cross-aisle at the front, you get the legroom, too. For this particular show front row of the stalls was pretty much sold out by the time public booking opened. However front row of the circle wasn't and I prefer that to some of those stalls seats further back where you often have a lot of coughers and talkers in front of you for some reason.
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Post by theoracle on Oct 1, 2019 21:18:09 GMT
My bad, Row A is the front row after all. Hurrah for me!
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2,946 posts
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Post by crowblack on Nov 13, 2019 16:00:39 GMT
I've just returned some £10 stalls seats, one for the 2nd and two for the 6th in preview week if anyone's interested (I can't make it to London for either date) - I think they're those good pillar seats, F11 etc. Anyway, I've just called the theatre so hopefully they'll be on the website soon.
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Post by learfan on Nov 13, 2019 17:43:16 GMT
Ive booked for the matinee on 27/12 as I'll be in London for Xmas anyhow. Looking forward to seeing it.
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Post by MrBunbury on Dec 4, 2019 14:09:18 GMT
It surprises me that I am the first to comment on the play. Anyway, I saw it last night and it looks good. Very good acting from Leo Bill and Lydia Wilson, a flexible set that works well, and more focus on the actual power dynamics than on the gory bits. I had only seen an amateur production of the Duchess of Malfi before and this version made me understand why this is a good play. It finished around 10,20 PM.
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Post by foxa on Dec 12, 2019 16:05:26 GMT
There are a few plays that I would have thought would have had more comments,including this one (also Ravens at Hampstead - anyone seen that yet?)
Anyway, seeing this tonight. It's a play that I've read but not seen before - and I hear Lydia Wilson is amazing.
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Post by Jan on Dec 12, 2019 16:22:51 GMT
There are a few plays that I would have thought would have had more comments,including this one (also Ravens at Hampstead - anyone seen that yet?) Anyway, seeing this tonight. It's a play that I've read but not seen before - and I hear Lydia Wilson is amazing. It’s a great play. There are a couple of quotes in it about politicians that should get a laugh tonight. I’m seeing it later in the run.
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Post by Dave B on Dec 13, 2019 23:59:18 GMT
We saw it tonight. Lydia Wilson is particularly strong. Indeed a big laugh (or sob) at one particular line refering to politicians. I found it quite gripping, I really liked the staging. It's deceptively simple and very effective. The music also works very well. There is, of course, some hand-held mics because they seem to be essential this year. {Spoiler - click to view} I did find the ending slightly OTT, it just went on a little bit too long but that's a minor quibble.
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Post by oxfordsimon on Dec 15, 2019 11:39:05 GMT
{Spoiler - click to view} I haven't seen this production, but the final act is and has always been over-extended. I have seen audiences laughing at the series of deaths. It is one of the difficulties with the genre for modern audiences We saw it tonight. Lydia Wilson is particularly strong. Indeed a big laugh (or sob) at one particular line refering to politicians. I found it quite gripping, I really liked the staging. It's deceptively simple and very effective. The music also works very well. There is, of course, some hand-held mics because they seem to be essential this year. {Spoiler - click to view} I did find the ending slightly OTT, it just went on a little bit too long but that's a minor quibble.
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Post by foxa on Dec 15, 2019 12:00:13 GMT
Thanks to Jan's prompt about lines about politicians, I was listening for these. This one got a laugh the night I went (election night): 'A politician is the devil' s quilted anvil; he fashions all sins on him and the blows are never heard. '
Then we walked out towards Highbury & Islington and checked the exit poll results.
I go to the theatre so often, it's not surprising that key political events are connected to a theatre visit. We saw 'Threepenny Opera' at the NT the day of the referendum result. After the interval, Kinnear came out and said something like 'Ah, you are here. You could have chosen to leave and yet you REMAIN.'
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Post by Jan on Dec 15, 2019 12:48:54 GMT
Thanks to Jan's prompt about lines about politicians, I was listening for these. This one got a laugh the night I went (election night): 'A politician is the devil' s quilted anvil; he fashions all sins on him and the blows are never heard. ' Then we walked out towards Highbury & Islington and checked the exit poll results. I go to the theatre so often, it's not surprising that key political events are connected to a theatre visit. We saw 'Threepenny Opera' at the NT the day of the referendum result. After the interval, Kinnear came out and said something like 'Ah, you are here. You could have chosen to leave and yet you REMAIN.' The other one is: I would sooner swim to the Bermoothes on Two politicians' rotten bladders, tied Together with an intelligencer's heart-string, Than depend on so changeable a prince's favour. In a previous production McKellen spat out those lines with relish.
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Post by Cardinal Pirelli on Dec 18, 2019 18:48:36 GMT
An unexpected cast change at today’s matinee, with director Rebecca Frecknall going on as Cariola, as the actor playing the part was concussed! Excellent, she was too, I really liked her directorial appriach once again, intelligently thought through as a neo-exoressionist rotting nightmare rather than an out of control Jacobean tragedy*. Lydia Wilson, superb, as she also was in its (incestuous) cousin ‘Tis Pity She’s a Whore some years ago.
*I hadn’t seen any reviews until just checking now, some of the reviewers seeming to want the latter, rather than the more insidious, creepingly claustrophobic vision here.
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Post by learfan on Dec 18, 2019 21:39:04 GMT
An unexpected cast change at today’s matinee, with director Rebecca Frecknall going on as Cariola, as the actor playing the part was concussed! Excellent, she was too, I really liked her directorial appriach once again, intelligently thought through as a neo-exoressionist rotting nightmare rather than an out of control Jacobean tragedy*. Lydia Wilson, superb, as she also was in its (incestuous) cousin ‘Tis Pity She’s a Whore some years ago. *I hadn’t seen any reviews until just checking now, some of the reviewers seeming to want the latter, rather than the more insidious, creepingly claustrophobic vision here. Concussed?? Im going on 27 December, sounds good.
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Post by david on Dec 21, 2019 23:36:05 GMT
After the bitterly disappointing VASSA, I was hoping for better things with this production having booked it on the basis that I enjoyed Rebecca Frecknall’s previous Almeida productions. Thankfully this didn’t disappoint. It took a while for me to get into it, but overall it was certainly worth a watch. Lydia Wilson in the title role was fantastic.
The set design by Chloe Lamford in the audience I sat with tonight seemed to get mixed reviews. Some thought like I that it was simple but effective, whilst others really hated it (stronger language was used to express their thoughts on it!).
I thought the sound design by George Dennis worked well alongside the lighting by Jack Knowles, particularly in the final scene.
Not a full house tonight unfortunately, but certainly a very appreciative audience at cast bows.
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Post by learfan on Dec 27, 2019 18:18:43 GMT
Saw today's matinee. Lydia Wilson very good, Leo Bill too, the others undercast i thought. Took a while to get used the odd set, part gym changing room, part antique shop. Sound and music good. Polite round at the end, surprised Wilson didn't get a solo bow.
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Post by Forrest on Dec 27, 2019 20:58:02 GMT
I saw this recently, and thought it was a bit underwhelming, it didn't quite meet my (admittedly, high) expectations. It was one of those plays where it seemed that style came before substance somehow, and the second half seemed to drag a bit. Also, some performances struck me as OK, but not great.
However, it was redeemed by the performances from Leo Bill and Lydia Wilson, who are both truly amazing (he is slowly but surely becoming one of my favourite actors), and Chloe Lamford's set, which I thought was absolutely stunningly gorgeous.
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2,946 posts
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Post by crowblack on Dec 31, 2019 14:44:37 GMT
I've just returned 2 good cheap stalls seats for an otherwise sold out performance on the 2nd if anyone's interested.
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1,845 posts
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Post by NeilVHughes on Jan 11, 2020 22:59:03 GMT
Most Excellent!
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Post by Jan on Jan 15, 2020 6:53:26 GMT
I liked it. The staging was a bit Robert Icke Lite but none the worse for that (I was ticking off the productions in my mind which had used the same elements - slow-motion, microphones, scenes behind glass, projected phrases etc.). What was unusual and novel though was the approach to the play itself - very restrained and cold and as close to naturalistic as they could get - normally (as the writer intended I suppose) it edges more towards a melodramatic gore fest. Leo Bill is a very interesting actor - watching him here it was hard to believe he was also Bottom in that Young Vic production a few years ago. Anyway, a welcome return to the Almeida's usual high standards after the appalling Vassa.
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Post by vernongersh on Jan 16, 2020 6:42:23 GMT
thought the production itself was simply gorgeous. sleek, sexy and anchored by a truly extraordinary stage actor but the modern dress and gorgeous production didnt helped being bored to tears. looking forward to seeing the best show from this director who is a genius but oy this text is such snore
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Post by juicy_but_terribly_drab on Jan 16, 2020 20:40:20 GMT
thought the production itself was simply gorgeous. sleek, sexy and anchored by a truly extraordinary stage actor but the modern dress and gorgeous production didnt helped being bored to tears. looking forward to seeing the best show from this director who is a genius but oy this text is such snore Pretty much my thoughts exactly. They did the best they could with what they had.
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