356 posts
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Post by lichtie on Jul 12, 2023 9:17:40 GMT
Does anyone know where the Rush tickets and the day tickets are located? I got row M in the stalls last week. Didn't seem to be a particular "rush" on the tickets either...
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990 posts
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Post by nash16 on Jul 12, 2023 9:41:26 GMT
Funny thing is I tried for Rush (as a rehearsal, to find out exactly the same) yesterday and it never appeared for this production in particular. I mean the red button it the App never turned to ‘Get Rush’ while for other productions it did at the same time. I even checked if I indeed unlocked them (which I did). Waited for 5 mins and gave up. I believe it was Press Night yesterday! 5* from Domestos (I could have predicted that one)
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404 posts
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Post by dlevi on Jul 13, 2023 6:08:56 GMT
I saw this two nights ago and I found it to be an ego-driven mess of a play. The subject matter is compelling and timely but what's presented on the Pinter stage is a failed example of dramatic devising. What's with the dancers? Shabbily written- is there a narrator or not? And while there are supporting actors on the stage they all move in relation to Rylance's universe. It's as if what I imagine acting with Henry irving would've been like. Were Rylance not attached this script would still be in a sludge pile in Sonia Friedman's office.
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Post by thistimetomorrow on Jul 14, 2023 21:24:14 GMT
I really enjoyed this the other day. Had no idea what the play was about going in and to be honest it wasn't even on my radar, but my mum wanted to go. Thought the subject matter was very interesting and I loved the live string quartet and ballet, I thought that worked very well. It got a bit repetitive and act 2 kind of went a bit downhill for me, but I still came out of the theatre really enjoying the piece and glad to have seen it. 4 stars for me
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1,016 posts
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Post by andrew on Jul 15, 2023 18:12:12 GMT
I found it very impressive that the best stage actor in Britain leading a play about an interesting and true historical event could be quite so underwhelming. I’ve read every review on here again and there’s clearly a group that this completely works for and another where it doesn’t, I’m in the latter camp.
I really disliked the dancing and the constant string quartetting, there were several points where I just wanted a bit of peace and stillness. By the last half hour I was sick of the dissonant violin stuff, I’m able to watch a scene about sadness or the unravelling of a mind without it being musically shoved down my throat. I sat right at the end saying to myself “I hope it doesn’t end with some symbolic bit of movement” and oh dear, that’s exactly what I got. There are moments when both aspects were acceptable but they were rare, and I see it as a failure of direction to have just thrown so much at the stage in a way that, for me, removed intimacy and a focus on actors being allowed to act.
I had a lot of reservations about the cast as well. As I said, I adore Mark Rylance and whilst I agree that this is yet another role where he ends up being quirky and slightly off-key, I still liked it a lot. Jude Owusu and Felix Hayes were also good. Amanda Wilkin is only given one note to perform and does fine with it I suppose. Chrissy Brooke felt like she was being directed to overact as hard as she possibly could, and Pauline McLynn felt like she’d been sent in from a completely different play. It’s absolutely fine to mix comedy in, but she’s giving a pantomime performance next to Mark Rylance and it really jars.
There’s just a great unevenness that sums up the whole experience for me. The first act, which mainly deals with the machinations of his discovery, has a bit of motivation for him, a bit of fun along the way, and a great sense of problem solving and science in action. The second act is a lot slower and less engaging, it never drives you to sympathise with Semmelweis really because he becomes unlikeable, nor his wife because she just sort of appears every few minutes to moan at him. If the idea is to feel the injustice and the weight of all the dead women then I just didn’t feel it. I don’t think it’s in the text, and the director uses his ballet troupe to try and create it, unsuccessfully. The whole thing feels like a simplistic script already too stretched out, subjected to as much busyness on stage as could be crammed in, drowning out what could have been a decent play.
It’s a good idea, poorly executed. Not recommended.
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Post by beguilingeyes on Jul 18, 2023 9:01:19 GMT
This has now appeared on Theatre Monkey DOCTOR'S WAITING ROOM: Visit www.atgtickets.com each Wednesday at 10am for all performances for the following week. First come, first served, the first in line can buy up to 2 tickets for their chosen performance the following week, for £10 each. Tickets will be allocated on a "best available" basis. They will be standing places. If there are seats available when tickets are collected 90 minutes before the performance then you may be allocated a seat anywhere in the auditorium - including restricted view tickets. Couples may be allocated single tickets in different locations. You must be willing and able to stand throughout the performance, and willing to accept being seated apart from the other member of your party, if you enter this process and are allocated tickets.
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Post by solotheatregoer on Jul 20, 2023 22:19:28 GMT
Just when I thought I knew what a 5 star acting performance looked like I then go and see Mark Rylance on stage for the first time. He was outstanding this evening and I really enjoyed this production.
I would give the play 4 stars overall. I agree with the comments above regarding lack of character development. I was concerned the combination of acting, music and dancing would be a bit of a mess but I thought they all worked incredibly well together. It felt like a real period piece and I loved the use of lighting and humour. Having the ballet dancers to represent the mothers who had passed actually made so much sense and worked beautifully.
Well worth a watch.
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Post by orchidman on Jul 21, 2023 22:14:42 GMT
If you think Mark Rylance is a genius then I guess you will enjoy yourself.
If you think he's a great actor with terrible literary judgement then you will have to try not to laugh at this mess.
It's sad to see him and a cast of over 20 deployed so badly on a big stage.
Whilst it is an interesting historical story there is no evidence here that it is good material for a play and plenty of evidence that the makers didn't have much confidence in it themselves as they resort to gimmickry to pad it out to an unnecessarily long running time.
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748 posts
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Post by rumbledoll on Jul 22, 2023 7:14:58 GMT
Does anyone know where the Rush tickets and the day tickets are located? Was offered Stalls C15 last week. A bargain!
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15 posts
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Post by kwbobby88 on Aug 13, 2023 7:38:26 GMT
This one wasn’t for me. It was difficult to hear the actors over the constant screeching violins, and I was in the fifth row of the stalls. We left at the interval.
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521 posts
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Post by danielwhit on Aug 13, 2023 10:51:46 GMT
Marmite.
At the interval I was convinced this was one of the best new plays of the year however by the end I was less convinced. The production is a strange mish-mash. I get the symbolism they're trying to go for with the violins and the ballet dancers, but it doesn't really work with the text in my eyes at all.
There's a very good and meaningful story here that is worth telling. I'd be very interested in how another production stages it in the future.
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Post by mattnyc on Aug 18, 2023 10:19:38 GMT
Marmite. At the interval I was convinced this was one of the best new plays of the year however by the end I was less convinced. The production is a strange mish-mash. I get the symbolism they're trying to go for with the violins and the ballet dancers, but it doesn't really work with the text in my eyes at all. There's a very good and meaningful story here that is worth telling. I'd be very interested in how another production stages it in the future. I completely agree with this. I was enthralled with act one but act two just took me out of it. Rylance is brilliant as was expected but I wonder what this play would be if performed without the music and dancing. Would it be interesting at all?
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3,085 posts
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Post by david on Aug 19, 2023 22:39:20 GMT
This was my first show of my London weekend and in all honesty it wasn’t a great start. Despite a lot of people around me in the stalls on their feet at the end, I wasn’t one of them. Having originally booked for 2 reasons, firstly a chance to see MR on stage again and in a play subject that interests me, though after the 2.5 hrs, the show just left me underwhelmed and frustrated mainly due the staging of it. The constant use of the Salome Quartet and ballet bits was just too much for me and a real distraction in the story telling by the actors. If the whole point of their inclusion was to make the situations more emotional, then they failed for me.
The life story of Semmelweis is a really fascinating one and his work plays an important role in the history and understanding of medical science today, though despite the best efforts of the cast I’m not sure it translated well onto the stage alongside everything else that was thrown on with it. As a comparison, the BBC did a drama series in the 1970s entitled “Microbes and Men” in which the work of Semmelweis is brought to the screen. I watched it in DVD a few days ago and at 60 mins long it was a more focused and engaging piece than this play.
I will say that of the 2 Acts, Act 1 for me was by far the stronger Act and held my interest far longer than Act 2 which found my mind wandering at times. Mark’s performance was entertaining enough and generated plenty of laughs from this afternoons audience. I’m not quite sure what play Pauline McLynne was in as her performance seemed at odds to the rest of the cast. As for the other cast, they do their best with the material, though I can’t single anyone out for particular praise.
Overall, of the stuff I’ve seen MR in, this goes to the bottom of the list sadly and certainly wouldn’t be worth a revisit in its current form.
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Post by nicolaa on Oct 5, 2023 15:55:22 GMT
Dr. Semmelweis - Harold Pinter
Vienna (the 19th Century) - thousands of women are still dying in childbirth each and every year. Only Dr Semmelweis can see the invisible killer at work, but to stop it, he must convince his colleagues to admit culpability and approve change.
Damned by an establishment that questions his methods, his motives and even his sanity, Semmelweis is haunted by the women he has failed to save. Can he finally convince the greatest doctors in Europe to accept his argument and what will it cost?
Mark Rylance is an Oscar winning actor. Mark Rylance has won all the major stage acting awards. Mark Rylance is one of the great stage actors of his generation Mark Rylance has co-written a drama about a Doctors attempts to discover germs and how they are killing people in hospital. Mark Rylance has added a musical section of 4 people who will come on stage and play from time to time. Mark Rylance has added a chorus of ballet dancers who will dance around the stage from time to time.
Bizarre! This would work as a straight play but its been smothered in music and dance as if they don't quite believe that what they have will actually work. At its heart its a detective drama for the first half as Semmelweis investigates the deaths and eliminates various suspects (such as air or lack of windows) and then the second half is one man against the machine of ingrained belief trying to get the Professors etc to understand his discoveries will save countless lives.
....and there is added dancing and onstage music.
An onstage cast of 23 is far too many for a show like this - thats a musical sized cast as we've got 4 musicians and 6 dancers added to the regular actors.
....and there is added dancing and onstage music and then we've got Oscar winning actor (and co-writer) Mark Rylance being the only one who is putting on an accent. He's giving us his Hungarian accent but his wife is RP and his best friend is Edinburgh and so on and so on and so on. Why he's the only one giving us an accent is a mystery (no its not, he's one of the great stage actors of his generation, has won an Oscar and is the co-writer).
Stripped of the extra nonsense we've got a nice 100 minute play, with added nonsense we've got 125 minutes.
A grudging 7 when it could be better as a smaller production.
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