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Post by blaxx on Aug 5, 2023 17:15:29 GMT
And The Effect was boredom... I really struggled to stay until the end. The premise of the play is plainly wrong. No researcher would know who is on placebo or given the real drug. After 20 minutes I disconnected and found the play a drag. The direction is very basic; and bad when they use pulsating noise to mark intense parts, not even a student would do that. I found the male actors weak, Paapa Essiedu particularly bad: constant twitching and moving around for no reason. A big part of the audience seemed to attend just to see him, lots of ohs and ahs every time he did something. It got an standing ovation so it might be me. You just called JL worse than a student? ๐
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Post by c4ndyc4ne on Aug 5, 2023 20:53:55 GMT
And The Effect was boredom... I really struggled to stay until the end. The premise of the play is plainly wrong. No researcher would know who is on placebo or given the real drug. After 20 minutes I disconnected and found the play a drag. The direction is very basic; and bad when they use pulsating noise to mark intense parts, not even a student would do that. I found the male actors weak, Paapa Essiedu particularly bad: constant twitching and moving around for no reason. A big part of the audience seemed to attend just to see him, lots of ohs and ahs every time he did something. It got an standing ovation so it might be me. You just called JL worse than a student? ๐ โ they use pulsating noise to mark intense partsโ - I swear most directors do this
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Post by jr on Aug 5, 2023 22:00:11 GMT
I have seen and liked many things directed by Jamie Lloyd. I saw all of the short Pinter plays and it was a fantastic season. Sadly, this one for me it was terrible.
And yes, pointing things to the audience so obviously instead of letting us feel them is not something I expect from an experienced director.
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Post by Steve on Aug 5, 2023 22:37:53 GMT
You just called JL worse than a student? ๐ โ they use pulsating noise to mark intense partsโ - I swear most directors do this I saw this tonight and, in my opinion, never has the use of pulsating music been more appropriate, as it has an "effect" on the audience, and it not only successfully (for me) has that effect, but it also has a corresponding meta-effect, whereby Jamie Lloyd's visceral manipulation of the audience echoes the psychiatrists' manipulation of their patients. I absolutely LOVED this version of the play, a completely original take on the material, just as I loved Rupert Goold's original Cottesloe version. They are very different and complementary takes on the material. Of the two, I marginally prefer this version, precisely because of the way it positions and manipulates the audience. My only caveat is that you do have to imagine you are living in a world where blind, double-blind and triple-blind trials (per the comment above) are not quite a thing, but that is on Prebble (who gets everything else right), not Goold or Lloyd. Some spoilers follow. . . Anyway, Lloyd's style of directing is not fixed, it's always evolving. Anyone who didn't like those experiments in listening, that were "The Seagull" and "Cyrano de Bergerac" can rest easy that this is no simple repetition of that style. After all, someone has noted that Lloyd directed "She Stoops to Conquer" at the National, and that was a traditional period costumed comic joy. Lloyd's manipulation of the audience begins as soon as you enter the auditorium to thumping low beats and a traverse theatre with a rake so steep the two sides of the audience are almost at war with each other. Indeed, the rake is so steep that even though the stage is in the middle of the auditorium, nonetheless the stalls go right up to meet the circle in a clean line! Even a basketballer (my eternal dread) sitting in front of you couldn't obstruct your view lol! The intense psychological effect of the environment is of arriving at a massive event, like a boxing match, ready to do battle, if only with your own mind. As to the background music, that persists through the show, albeit at varying volumes, I recall how I once got free tickets to that Finsbury Park "Rage Against the Machine" concert (to celebrate the X factor failing to reach Number 1 in the Charts lol), and not knowing their music, I listened on my iPod walking down the street. Suddenly, I really wasn't myself at all: I was a kind of Terminator not to be messed with! I was shocked at how alien I felt to myself. Everything Jamie Lloyd does here conditioned me similarly: the steep rake, the pulsing music, the sight of the similarly lined up mirror audience on the other side, and the lowered lighting rig (which must move grandly upwards to signal the production's start) suggested a massive event about to happen. When the event did start, the spotlit monochrome white outfits and hoodies, on the two trial patients (Papa Essiedu and Taylor Russell), suggested saintly boxers or maybe astronauts about to go where noone has gone before! In the wings, the ever-present, often-seated, clinician-psychiatrists (Michele Austin and Kobna Holdbrook-Smith) were dressed in similarly monochromatic, yet oppositional black outfits, worldly-wise controls physically and psychologically corralling and containing their saintly innocent astronauts of the mind. And the event we had all been primed and waiting for was Lucy Prebble's characters' words, broadcast by microphones like in "The Seagull," with the effect of personalising those thoughts and words, even at the level of a whisper, but acted naturalistically for us under the spotlight, more like the relationship in the play, "Constellations" than in the frozen experiment of Lloyd's "The Seagull." The omnipresence of the watching clinicians on stage, Michele Austin all compassion, Holdbrook-Smith all intellectual distance, heightened the vulnerability of their patients' interactions, the sense of threat, just as Zawe Ashton, Tom Hiddleston and Charlie Cox once threateningly circled each other in Jamie Lloyd's "Betrayal." That Lloyd has multiple effects at work here, some of which we've seen before from him, but never all together: the intimate audio, the bass music as if the auditorium has a heartbeat, the grand positioning of the audience for a great event, lighting like Caravaggio, the oppositional postures of the actors toward each other, the awareness of the audience of each other - all these things enhance the themes of the play but also highlight Lloyd's ever-continuing evolution as a director, intent on creating visceral experiences that are unique to theatre. I loved the performances in this play too: Russell is reassuring gentleness, an affected submission to those around her that can't quite hide a piercing intelligence and aloofness; Essiedu is unpredictable and funny, alternately relaxed and wired; Austin is deeply thoughtful and compassionate and Holdbrook-Smith is sinisterly quiet (avoiding eye-contact in a fastidious way that made me fear a potential eruption of violence, like he once scarily erupted as Ike Turner in the Tina Turner Musical) but when he does break his silent musing, and looks up, his erudition and manners are perhaps scarier still , in the context the play. All in all, I feel this is a terrific and original exploration of the material, manipulating us as easily as experimental drugs manipulate the characters, and incredibly topical, as AI begins similarly manipulating everything we've ever known. 4 and a half stars from me, weakened only by Prebble's set-up not being consistent with science as we know it. Terrific nonetheless.
PS: The running time was 1 hour, 40 minutes, straight through, as advertised, although it began ten minutes late, so ended at 9:20pm.
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Post by greenswan on Aug 6, 2023 9:48:14 GMT
I'm afraid I didn't get on with this yesterday evening - rather suspect this is my fault as I found the temporary seating very uncomfortable. A lot of the audience around me gave a standing ovation at the end though.
Setting aside scientific good practice, I mainly couldn't really make out any coherent arguments throughout. Instead it was funny set pieces interspersed with a lot of boredom. I ended up checking my watch every couple of minutes an hour in.
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Post by dr on Aug 6, 2023 14:26:21 GMT
Enjoyed this on Friday evening. The concept is immediately interesting, and Lucy Prebble's writing is consistently entertaining and thought-provoking. The transformation of the Lyttelton is impressive, adding a new level of tension and observation for the characters. Soutra Gilmour's set design is predictably sparse, but complemented by stunning lighting design from Jon Clark which nicely punctuates the action. This is alongside intense sound design by George Denis, with an original underscore, which adds a sense of pace and really heighten the power of the text.
As he does best, Jamie Lloyd allows the text to shine, with his classic H&M costume design and use of mics for amplification. Performances from Paapa Essiedu and Taylor Russell are convincing - the chemistry between Tristan and Connie isn't quite captivating yet, but I imagine that it'll settle very nicely further into the run. As mentioned by others, Michele Austin is a real standout, and Dr James feels like the real focus of this production (I'm not sure whether this was true of the original production, but the spotlight does feel a little misplaced on her.)
It received a very quick standing ovation on Friday, and I think that this will be a hit with younger audiences. It's effortlessly cool and relevant to current discourse surrounding mental health. In my opinion, another immense success in the Lyttelton this year.
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Post by jampot on Aug 6, 2023 18:05:06 GMT
Enjoyed this on Friday evening. The concept is immediately interesting, and Lucy Prebble's writing is consistently entertaining and thought-provoking. The transformation of the Lyttelton is impressive, adding a new level of tension and observation for the characters. Soutra Gilmour's set design is predictably sparse, but complemented by stunning lighting design from Jon Clark which nicely punctuates the action. This is alongside intense sound design by George Denis, with an original underscore, which adds a sense of pace and really heighten the power of the text. As he does best, Jamie Lloyd allows the text to shine, with his classic H&M costume design and use of mics for amplification. Performances from Paapa Essiedu and Taylor Russell are convincing - the chemistry between Tristan and Connie isn't quite captivating yet, but I imagine that it'll settle very nicely further into the run. As mentioned by others, Michele Austin is a real standout, and Dr James feels like the real focus of this production (I'm not sure whether this was true of the original production, but the spotlight does feel a little misplaced on her.) It received a very quick standing ovation on Friday, and I think that this will be a hit with younger audiences. It's effortlessly cool and relevant to current discourse surrounding mental health. In my opinion, another immense success in the Lyttelton this year. Saw this last night and personally I thought it was fantastic from top to bottom...I knew nothing about it.. It felt fresh and modern to me and very edgy. Staging and sound top notch giving it a really clinical exciting approach. Was on the edge of my seat at times.. Taylor Russell looks a very gifted actress..Hope we see more of her...Standing ovation at the end..
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Post by mrnutz on Aug 8, 2023 11:41:42 GMT
I really enjoyed this on Friday night, just as I remember really enjoying the original. Excellent performances all round.
It's staged very differently from its Cottesloe debut and the Lyttleton is unrecognisable (a reason to go by itself), but I found the fold-down stadium seating they're using throughout the stalls to be extremely uncomfortable - and very narrow. Prepare to brush closely against your neighbour(s). An interval would have helped relieve some of the pain.
Fantastic to see such a young and diverse crowd at the National, too.
4/5
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Post by cavocado on Aug 8, 2023 14:07:45 GMT
I thought this was good but I didn't love it - 3 stars. I didn't see the original version, so can't compare, but I just didn't care enough about the main two characters, and agree with comments about the plot being implausible. I also agree that Michele Austin was the standout.
Re the temporary seating, it's not hugely comfortable, but has lots of legroom, and it was quite interesting to see the theatre from the stage seating.
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Post by mrnutz on Aug 8, 2023 14:39:46 GMT
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Post by BurlyBeaR on Aug 8, 2023 15:17:24 GMT
Poll added.
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Post by jek on Aug 9, 2023 8:36:06 GMT
We have tickets for the circle to see this later this week. Is the circle configured as it normally is? I'm finding it hard to get my head around the way the theatre has been changed for this production.
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Post by sallims on Aug 9, 2023 8:46:09 GMT
We have tickets for the circle to see this later this week. Is the circle configured as it normally is? I'm finding it hard to get my head around the way the theatre has been changed for this production. Yes
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Post by jek on Aug 9, 2023 10:35:41 GMT
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Post by jek on Aug 12, 2023 12:05:33 GMT
Went last night and have to say it wasn't for me. I think the problem is that it considers matters - the origins of depression, big pharma, drug trial ethics - which, if you are older (I am sixty), you've probably spent quite a bit of time thinking about. You will probably have also seen them explored by various art forms. What I did think was good was that the presence of black actors inevitably served to remind of the particularly nasty history of medical experiments on black people - the Tuskegee syphilis trial and the Henrietta Lacks cell line spring to mind. If you are younger I think this is a fine introduction to those topics and I have certainly recommended it to my 22 year old daughter. It was really good to see a young and diverse audience at the theatre. The only disappointment was that there were lots of empty seats on the stage (we were in the circle and so had a good view of that) and, in fact, the ushers moved people down to fill up the gaps at the front just before the play started. Must be disappointing for a Friday night and when the reviews were so good.
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Post by theatrefan77 on Aug 16, 2023 23:09:26 GMT
I saw the original production with Billie Piper and enjoyed it very much. For me this new production is just boring and I really struggled with it. Maybe it's because I was familiar with the story and I knew the twists. The acting was at best adequate and the staging just awful. Not sure if they were trying to create a dystopian atmosphere. Whatever it was it didn't work for me.
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Post by solotheatregoer on Aug 20, 2023 10:02:28 GMT
Three stars for me. I thought this was very well acted but I found it all a bit dull. I also found some elements of the plot to be pretty predictable. I love Jamie Lloyd and his staging, but I didn't feel it worked well at all in this production.
Full house with standing ovation at the end though.
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Post by lichtie on Aug 21, 2023 15:51:08 GMT
I though the production here suited the material, and the cast gave it their best. Perhaps the stripped back nature of the production helped reveal more clearly that the play itself is unfortunately tripe of the highest order.
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Post by Forrest on Aug 21, 2023 16:36:12 GMT
I really wanted to enjoy this - mostly because my score with Prebble's plays so far has been loved (Enron): hated (the something something poison at the Old Vic) - 1:1 - but I really didn't.
I thought the text was too obvious (the contrast between the two narratives, real attraction vs. fake), the way that it ended just somehow felt unnecessary, the discrepancy between the doctor wanting to be seen as professional and being utterly unprofessional throughout was frustrating, and the premise was simply unrealistic (the obvious fact that everyone knows, fully or partially, which subjects are on which medication). But it was the staging that fully ruined it for me. Any sense of intimacy was killed by the fact that everyone was wearing microphones. The brain in the box and the pulsating music felt like cheap tricks. And I thought that the main characters had no chemistry onstage, although a friend partially salvaged this one by telling me that she saw it as a deliberate choice: there was no chemistry because they really didn't have any, it was all drug-induced.
Overall, I found the production rather tedious and forgettable. (I found myself waiting for it to be over, which is never a good sign.)
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Post by robwilton on Aug 22, 2023 10:31:19 GMT
Another Jamie Lloyd trainwreck!
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Post by Mark on Aug 24, 2023 20:35:24 GMT
Thoroughly enjoyed this tonight! Thought the acting was great all around, especially Michelle Austin who I was thinking all the way through WHERE have I seen her before (The Bill, of course, and This is going to hurt). The Lyttleton has been heavily reconfigured but I thought it worked very well.
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Post by Being Alive on Sept 17, 2023 0:03:05 GMT
Michelle Austin is the star of this by a country mile - virtually acting everyone else off the stage - really enjoyed her.
Paapa was good, but not great, and I thought the other two (particularly Taylor Russell) to be pretty poor actually - I understand it's her stage debut but she simply wasn't good enough to keep up with the others.
I guess the design was fine, but I felt it belonged to a different play and not this one.
It's a good play (anything by Lucy Prebble usually is), but as usual with JL productions you would hardly have any idea it was well written.
3 stars, just - but it got a standing ovation so what do I know.
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Post by thebittersweets on Sept 17, 2023 13:33:48 GMT
A little surprised to see the mixed reactions as I thought this was absolutely stellar all-around. The performances, the writing, the staging, the design all worked together to make me feel like I was a part of the production. I think the play has aged so well and really speaks to what the current generation is feeling. This felt like exciting theatre and the very young and diverse audience felt very engaged.
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Post by david on Sept 30, 2023 9:10:32 GMT
Well, I certainly enjoyed that last night (though not the on stage seating). A great mix of writing, acting, lighting and sound design combined really well and made for an engaging and fun 100 mins at the NT. As a complete package, I found this JL play to be far more enjoyable and I got far more out of this viewing than least years โSeagullโ which really didnโt do much for me. With the casting, we had Mara Huff on as Connie, and the four cast members worked really well together. Papa Essiedu was an absolute star in this. Plenty of wit and humour in his performance. Michele Austin was another one who I thought was a great watch with her performance. Similar to Mark , watching her I recognised her but couldnโt place where Iโd seen her from on TV which bugged me all night as I didnโt have my programme with me to check. A good play from Lucy Prebble (though with my scientist hat on, I would question some of the methodology used in the tests) was with everyone (including myself) on their feet at the end. Rating - 4โญ๏ธ
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Post by harrietcraig on Dec 11, 2023 15:51:22 GMT
Coming to the Shed in New York, March 3 -31. Tickets on sale to members December 12, to the public on December 14.
Mods, please move to the International board if you think this news justifies a separate thread.
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