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Post by jadnoop on Mar 1, 2018 1:22:06 GMT
The Father
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562 posts
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Post by jadnoop on Feb 22, 2018 11:51:16 GMT
anyone know advance booking dates? Advance Members booking: 6th March at 8:30 Public booking: 16th March at 8:30 Not sure about the other dates though.
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562 posts
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Post by jadnoop on Feb 21, 2018 23:06:34 GMT
I just don't want to take the risk What risk? £12 on a Monday and cheap shows upstairs: that's damn near cinema prices for some things. I've seen some excellent work there recently - maybe you should check in more often because it sounds like you've been missing the good stuff. Sure, tickets can be only £12, but it's not really the full story. Once you include travel, a programme, maybe a drink or food, and it all adds up. Plus, aside from the monetary cost there's also the time. I'm sure a lot of us have commitments which means that evenings out are about more than just the cash. I know that for us, it's the wasted time as much as the money that's annoying when you go to see a bad play/film.
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Post by jadnoop on Feb 20, 2018 23:16:21 GMT
Thanks jadnoop. I'm no longer an NT member so cannot access the page through your link but having read up a bit more, it seems like the original trilogy has been condensed into one (presumably long) play. So not quite such a panic with booking. Regarding the 'The Lehman Trilogy' webpage, I don't think it's to do with being a member, I'm pretty sure it's just an IT thing. Basically, they make the webpage with the info, but it's not made viewable to the general public until they decide to release the info. So my guess is that tomorrow or the day after, an NT tweet will go out announcing the shows, and that page will have be switched over to 'live' and be viewable to all. Don't worry, there's no need to panic with ticket sales yet.
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Post by jadnoop on Feb 20, 2018 19:12:14 GMT
Whoop. Dates are up: Lehman Trilogy: 4 July - 8 Aug (Talks on 7 Aug) An Octoroon: 7 Jun - 18 Jul Julie: 31 May - 4 Aug Translations: 22 May - 7 Jul Pages for each show are also up, so if this is the same as last time, then it should mean that the full info is up tomorrow. Pretty excited. Where are you reading this please? Keen to know if there are any/many trilogy days for Lehman. Yes, Translations is a lovely play, also saw the excellent ETT version a few years ago. My understanding is that it's a single play called 'The Lehman Trilogy', rather than being 3 separate shows, but I may well be mistaken. Although sorry if I've misunderstood what you're asking. In terms of what's online at the mo, Lehman seems to have 26 performances so more-or-less daily for the run, and spot checking suggests that evenings start at 7pm. In terms of the info, it's from the NT website. Basically, this is their structure for specific shows: www.nationaltheatre.org.uk/shows/pinocchio and if you change the final words to something else, it comes up with an actual webpage which has a temporary hold, like this: www.nationaltheatre.org.uk/shows/the-lehman-trilogy If this wasn't a real show, then it would come up with a 'Page not found' type error like this: www.nationaltheatre.org.uk/shows/blah-blahIn terms of the dates, their ticket page show the date, time & cost info, like this: www.nationaltheatre.org.uk/tickets/9965 and the number at the end represents shows & days chronologically, so this is the first Lehman Trilogy day: www.nationaltheatre.org.uk/tickets/11501 and the last show (at least for now) is: www.nationaltheatre.org.uk/tickets/11526 after which the next show (An Octoroon) begins.
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Post by jadnoop on Feb 20, 2018 18:39:12 GMT
Whoop. Dates are up:
Lehman Trilogy: 4 July - 8 Aug (Talks on 7 Aug)
An Octoroon: 7 Jun - 18 Jul
Julie: 31 May - 4 Aug
Translations: 22 May - 7 Jul
Pages for each show are also up, so if this is the same as last time, then it should mean that the full info is up tomorrow. Pretty excited.
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Post by jadnoop on Feb 19, 2018 5:40:51 GMT
have set out to obscure and obfuscate. Maybe the plays aren't finished yet! It's completely understandable that the plays aren't yet finished, but that doesn't really explain why some of the blurbs are quite so vague. I mean, even if the text isn't complete presumably they pitched their ideas to potential clients/their agent/directors/actors/their friends. They must have some idea about the intended narrative and tone, even if it might change over time; it's a comedy or a drama or a thriller; it's set in world war 2 or the future; it's... Of course, there are a few creators whose stories truly come out in the improvisation with the actors (Mike Leigh, for instance), but that's the exception rather than the rule. I mean, I presume that the theatres made their decisions based on more than 3 or 4 vague sentences, so it seems ridiculous that audiences have to decide about tickets based on what amounts to the literary equivalent of a perfume advert.
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Post by jadnoop on Feb 16, 2018 12:34:53 GMT
My you are coming to see this email references trigger warnings but says no more, without wanting to know what happens really should I be worried? I'm a squeamish fainter. Without any specifics, and trying to be as spoiler-free as possible: Nothing is shown on stage in any way, but there is a very detailed description of some pretty horrific violence. It's probably not much more 'extreme' than you would get in your average Scandi-thriller, but it's grounding in mundane 'reality', and the way it's delivered makes it more unpleasant in my opinion.
If you'd like more information then I'm happy to explain further, or it may be worth contacting the RC.
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Post by jadnoop on Feb 15, 2018 18:44:36 GMT
It's mid-Feb, any news on booking dates? The website has been updated with a first event thing for Lehman Trilogy (talk + show package on August 7th): www.nationaltheatre.org.uk/tickets/11475So I presume the rest of the dates will be online tomorrow. Iirc, for the current season, tickets went on sale (to the patron members) a couple of days after the ticket pages were put online, so if it's the same then presumably either tomorrow or monday(?)
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Post by jadnoop on Feb 13, 2018 12:45:43 GMT
Ugh. The blurbs given for these plays must be the most opaque, unhelpful texts I've seen yet. I can't help but think it would take considerable effort to provide less information for a potential audience to make their choices on than the couple of lines given for The Woods .
Apologies; I know I've ranted about this before, but it's so frustrating to hear about a new season, excited to choose something new to see, only to realise that you may as well throw darts at a board. If the hope is to attract people to see new creators (i.e. Not just rely on star-power), then surely they need to give a little more for potential audiences to make decisions on.
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Post by jadnoop on Feb 13, 2018 0:48:53 GMT
The consensus on twitter seems very positive, so I may be in the minority here, but this really didn't do much for me. I thought the acting was great, and loved the stage and use of light & colour. The first third or so was reasonably funny too, but that was about it.
In my opinion, the script simply wasn't strong enough to justify the change of focus to such an emotionally charged & sensitive topic midway through. The play deals with an undoubtedly important issue, but the structure felt too contrived and emotionally manipulative, and the twist felt overly telegraphed. By the end, the play also seemed to morph into a lecture.
Two and a half stars for me. Maybe three.
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Post by jadnoop on Feb 11, 2018 21:03:56 GMT
For anyone who's been, would it be possible to ask a spoiler-free 'trigger' question? We've just had a sudden/l illness-related death in the family, and I'm slightly worried that anything too close to that might be too much for my better half. No need for any details, but is there anything like this in the play? {Spoiler - click to view} There are two non illness-related deaths, they do no happen on stage, but they're talked about at length in the second part of the monologue. Thanks so much for the info and quick response couldileaveyou.
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Post by jadnoop on Feb 11, 2018 20:57:56 GMT
For anyone who's been, would it be possible to ask a spoiler-free 'trigger' question?
We've just had a sudden/l illness-related death in the family, and I'm slightly worried that anything too close to that might be too much for my better half. No need for any details, but is there anything like this in the play?
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Post by jadnoop on Feb 10, 2018 16:44:19 GMT
FYI, TM is TM.C on this board, rather than TMI or ATM, say. Yep, RC here is RC. BRB. That makes everything as clear as day. Thanks very much for being so understanding Ah, just meant in jest. Never quite sure of people's tone in messageboards posts. TM = theatre monkey (.com), RC = royal court.
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Post by jadnoop on Feb 10, 2018 13:18:11 GMT
Spot on TM. This is happening with Girls and Boys. Got my email from RC. Why are some talking in code on this thread? What is TM? Transcendental meditation? Or am I not allowed to be in the loop? I suppose RC is not Roman Catholic, but Royal Court. FYI, TM is TM.C on this board, rather than TMI or ATM, say. Yep, RC here is RC. BRB.
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Post by jadnoop on Feb 2, 2018 15:53:35 GMT
I understand, and agree with, the idea that scripts should be selected entirely based on quality. I know this is brought up regularly, by those unhappy with apparent trends like the recent season. However, does anyone think that this has ever truly been the case; that the arts haven't always been partly driven by the subjective aims & tastes of curators & creators?
Furthermore, given how subjective a script's 'quality' is, and how collaborative theatre tends to be, does anyone think this is even possible? Artwork is never judged objectively within a vacuum, so why is it surprising (or negative) that the arts would try to respond to important & contemporary issues?
I have no idea whether or not the intention was always to have more female writers. Simple probabilities would suggest that, if it were 'fair' every so often you'd get an entirely female line-up; a lack of variation every once in a while doesn't necessarily prove that this was intentional. However, even if it were, it's hardly surprising or unfair that curators would look to respond to, and correct, long-standing inequalities in the artform.
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Post by jadnoop on Jan 31, 2018 23:51:04 GMT
*****
Anyone who doesn't like Paul Thomas Anderson's past films will hate this. But anyone who enjoys his movies will find a lot to love. Live orchestras don't always gell well with films, but this was a real success. Throughly recommended.
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Post by jadnoop on Jan 26, 2018 19:24:07 GMT
How bad is the view from the sides? I have an Entry Pass ticket for tomorrow, right side of the upper circle, and I'm starting to worry Most of the staging is at the front & central and will be fine. However, there are a couple of bits that take place at the back sides as well as on a staircase that might be difficult to see from a high, side seat. I'm not sure of the precise sightlines, but one key point is at the rear of the stage and might be blocked from view for the very low number seats in the gallery & circle levels. Im sure that others here, like TM will know this much better than me though.
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Post by jadnoop on Jan 26, 2018 19:01:18 GMT
I'm not reading reviews, but any opinions on the front row A restricted view seats currently available in Friday Rush? I have the choice between one of them, at £20, or a £39 side view seat further back, L10. I'd strongly suggest central over side view for this one. Front row is probably marginally worse than being a few rows back, but there's not much in it.
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Post by jadnoop on Jan 21, 2018 13:15:42 GMT
I saw this yesterday and thought it was great, layered, and yet surprisingly light in parts. It's certainly not going to be for everyone and, for me, didn't quite match The Flick, but I think it's well worth a trip to the Southbank.
I'm not sure I took everything in, but the occasionally unnerving tone, alongside the themes of storytelling and seen & unseen information made it seem like a perfect pairing with Pinter's The Birthday Party. Even the setting seemed similar; a B&B the somehow feels both comforting and unsettling.
There's a wonderful exposed theatricality to the whole thing which fits nicely with the idea of 'watching' as well as a reading in the third act. To anyone going, I'd suggest getting fairly Central tickets if you can; i suspect that from the side, especially at higher levels you'll miss a fair bit. And make sure you stay in the auditorium for the start of the second interval.
The acting was uniformly excellent. I was disappointed that Georgia Engel mysteriously dropped out, since the play was written for her, but Marylouise Burke was so good, as anyone who's seen her brief appearance in Sideways will expect.
I can't wait for the next Annie Baker play to come to the uk.
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Post by jadnoop on Jan 20, 2018 11:59:01 GMT
I absolutely loved The Flick and have been so excited to see John since it was announced. I've been trying to keep my expectations in check, but the comments here so far are making it pretty difficult. Not long now. I can't wait.
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Post by jadnoop on Jan 19, 2018 13:05:25 GMT
It's interesting to hear the different views regarding the play's nudity. For me, I'm not sure that it was necessary, or 'logical' in terms of the characters' actions (I have no idea how people might act in situations like that). However, I found the scene shocking and matter-of-fact in a way that nudity on stage & film that I've seen so often isn't.
While it's true that the key event immedaitely prior happened off-stage, many of the play's key points did. While I don't necessarily agree that it would have been impossible to have had the scene on stage, it would have been a fundamentally different play.
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Post by jadnoop on Jan 17, 2018 13:17:35 GMT
I thought the casting for this was wrong when I first learnt of it and I don't think I was wrong. Meg (Zoe Wanamaker), the landlady of the sleepy seaside boarding-house is supposed to be thirty years older than the guest Stanley (Toby Jones). It is an inappropriate, ridiculous probably one-sided affair - with the younger man using this to this advantage. This age-gap doesn't work with Jones and Wanamaker It's interesting that you say that. I haven't read the play, and didn't know it before going, so didn't realise that they were supposed to be so different in age. However, while I was there, I got the feeling that the casting amplified the weirdness/inappropriateness of another side of their relationship. My feeling (and again, I haven't read the text so may be misreading things) was that Meg & Stanley's dynamic flitted between two things (a) two lovers, where he didn't really like her, and (b) as a quasi-mother-son thing, where he was a petulant child. The latter seemed loudest in some of her lines and the way she seemed to dote on him (e.g. her saying something like "Not a girl, it's better to have a boy."). The fact that Toby Jones is so clearly not a child, and didn't seem too different in age from Zoe Wanamaker (especially compared with Peter Wright) amplified the weirdness of their uncertain relationship, as well as the absurdity & nervousness of the drum scene. All in all, I felt that Toby Jones was amazing. His physicality worked well, especially in his scenes with Stephen Mangan. And his transformation for the final scene as well as *that* brief moment of lighting in the dark were fantastic.
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Post by jadnoop on Jan 14, 2018 0:07:18 GMT
I thought this was really great. Tense, unnerving, but also darkly funny and sometimes moving. I saw the recent runs of The Caretaker and No Man's Land, and for me, this chimed with me far more than the other two. It also helps that it seemed to have what was closer to a cohesive and intriguing narrative.
The acting was uniformly excellent. If I'm being picky I might say that Stephen Manghan's accent occasionally seemed to falter, but his delivery was great especially his pairing with Tom Vaughan-Lawlor.
I loved the Quay Brothers' stylised, gothic, slightly run-down design, and the interesting use of light and sound. I'm not sure if the little touches (flames, torches, netting, etc) are in the script or not, but they worked wonderfully.
I also really lucked out with my seats. Me and my other half were sat at the very back of the stalls. Just before the play began, someone asked if we would like to swap seats with them; far closer to the front! Turns out it was director Ian Rickson, who was hoping to see the play from the back. So glad to be able to see the play closer to the action. So, on the small chance he (or others connected with the play) read this forum; thanks so much!
All in all, a solid 4 stars, maybe a smidge more.
I'm not sure I really got it in one go. I'm Quite tempted to go again.
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Post by jadnoop on Jan 5, 2018 15:14:40 GMT
The return of 'All Places that the Eye of Heaven Visits' sounds like one of the most exciting of the recent Globe announcements www.shakespearesglobe.com/whats-on-2018/shakespeare-within-the-abbeyHowever, there seems to be almost nothing about last years performances online. A single article in The Times pops up, but that's behind a paywall. I presume that some board members went last year. Would you be able to (spoiler-free) say something about it? How was the experience? Do you need to know Shakespeare like the back of your hand to enjoy it? Would you say it was worth the ticketprice? Any info would be greatly appreciated.
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