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Post by MrBunbury on Mar 23, 2016 12:10:55 GMT
What happens in that scenario? Do you get your money back? I am going to see this this evening and haven't had the cancellation email yet! Yes, they told us to contact the box office and we will get our money back (I still haven't done that but it will be probably a voucher than can be used for any show at the National).
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Post by MrBunbury on Mar 23, 2016 10:10:02 GMT
Don't worry about Sian Phillips. What about Elliot Cow-wow-wow-an? I still have delightful memories of his snugger-than-snug trousers in 'An Ideal Husband' . . . He is in good shape but his trousers were not particularly snug (but they might get snugger in the second act, who knows).
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Post by MrBunbury on Mar 23, 2016 9:03:56 GMT
After working hard to convince a couple of friends to come with me, I went to the first performance yesterday. The revolving set got stuck towards the end of the first act and they did not manage to make it work again so we were sent home at the interval (with my friends' delight as they like to think that their presence was somehow the cause of the problem...). From what I could see the first act is a little slow at the beginning but it gets better as it goes along. I really liked Sian Phillips. The show should last three hours with one interval.
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Post by MrBunbury on Mar 17, 2016 14:08:32 GMT
There are tickets available for the 20th April and the 9th May!
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Post by MrBunbury on Mar 12, 2016 11:32:00 GMT
Would LOVE to know what he was thinking when watching Wonderland tonight as well.
I was this close to going to the box office and buying another ticket, in the hope that I could sit next to him, pretend not to know him, ask him what he thought and revel in the inevitable answer. I decided I couldn’t see the show again unless very very drunk. I decided I didn’t want Sondheim to see me very very drunk. I went home instead. Wonderful though the evening was, a part of me feels sick that Sondheim – the man who wrote Gee Officer Krupkee, Not Getting Married, A Little Priest, We’re Gonna Be Alright, Move On and all those other glorious lyrics – spent the evening on the same stage as Everyone Loves Charlie, Everyone Loves Charlie, and Not Alone/Like A Toenail All Ingrown.
Shame I didn’t see any of you – I did look, but no luck! I was fourth row stalls in blue, if anyone saw me. I did see Mike Leigh later, though (I think going to see Waste), so that’s something.
Sondheim might not have said anything not said or written down elsewhere, but there was plenty that I didn’t recognise (although the speed with which he gave some of the answers suggested they were answers he’d given before), from what he listens to, to how he develops a voice for each character and sometimes, as now, struggles to do so, to a long and effusive answer saying so much about Jonathan Tunick. Incidentally, nothing wrong with getting the same answers given context: when the inevitable “Musical-to-film” question was asked, he gave the same answer about West Side Story being a terrible movie as it’s too stagey, whilst Sweeney Todd’s a great movie because it’s conceived as a movie (I know that movie has haters on here, but I broadly agree that it’s a bad Sondheim movie but a tremendous Tim Burton movie and I think it’s wonderful cinema) – but he made no qualification about Into The Woods, indeed no mention of it whatsoever, and I might be looking for answers where none occur, but does that not suggest that he thinks it inferior to Sweeney? I just found that exclusion very interesting.
Regardless, I keep remembering moments (that write up, Squire Sullen, is so complete I envy your memory, but more importantly is a lovely and superb piece of writing), questions he answered, lines he said, and just smiling; the man’s an indisputable genius with a brain the size of a planet and an encyclopaedic knowledge and great human understanding of musical theatre, and having him, even just for 45 minutes, telling even a fragment of what he knows, even a fragment of what he’s written, was wonderful. Last year I had the privilege of seeing Peter Brook in conversation, and it’s a worthy comparison – two genii in their golden years who’ve lost nothing of their youthful passion for their medium but gained a lifetime of insight they’re able to share at the drop of a hat. I really am a lucky bugger, we all are.
More importantly, though, what we got was the man in all his fast-witted, down-to-earth, intense glory. When he said (to one of The Stage’s own journalists, no less!) “That’s a meaningless question” before qualifying it himself and giving a prescient as always answer; when he answered the question about form and content (the revue form for Assassins against the revue form by way of character story for Company) with such precision; that he took none of us for fools and explained nothing, expecting, nay demanding, us to have the knowledge of not only his oeuvre but the extensive oeuvre of Hammerstein and movie musicals; when he said “Don’t take a photo” to someone just behind me with such intensity that he rendered the Olivier silent as few actors are able to; when off the cuff he made the joke about the ushers knowing Jujitsu, or wonderfully answered the question “What do you listen to when relaxing on a Sunday evening?” with “RELAXING?”... Smug alert (as always): this was my third Sondheim sighting, but more than the other two times, I felt that we really saw the man behind the shows, the wonderful, warm man, but also the genius who takes no fools. It was an absolute privilege to see a mind like his in full flow, but an even greater privilege to see a man like him in full flow.
Now, what did he think of wonder.land?
Where were you sitting Nicholas? I was in row D in the stalls so I wonder if I saw you.
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Post by MrBunbury on Mar 4, 2016 9:23:41 GMT
That was the easiest NT booking I've had in a long time. I'm not sure I trust it! Got everything I wanted though, including a front row ticket for The Deep Blue Sea which surprised me too! Same here. First row for 'The deep blue sea' and everything in my pocket very smoothly.
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Post by MrBunbury on Mar 3, 2016 15:55:18 GMT
Interesting. For me the fainting think is often linked to feeling trapped, being in an environment where you can't easily leave without causing a disturbance etc. So violence in films can have the same effect as it's a similar physical set up. TV can cause the faint effect but usually I can turn off/press pause/leave room etc. more easily. I think perhaps it's a control thing in my head as much as anything. The idea that came out from the platform was that in theatre you are physically present while violence is taking place, whereas in TV, cinema or the web there is always the screen that allows you to distance yourself.
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Post by MrBunbury on Mar 3, 2016 11:17:50 GMT
Was there anyone at the platform with Katie Mitchell on “Cleansed” yesterday? SPOILERS NOW: I thought it was very interesting: she was perfectly affable and open to questions and it was great to hear how she approached the text and the challenges that it implies. The decision to have a single set was dictated by practical considerations and she spoke of surrealism for framing the story (which in her words refused to be cohered into a single narrative) as Grace’s dream. Having Grace on stage all the time also helped to reinforce the feminist point of view: usually it is men who act violence. She said that nobody expected the fainting and she was sorry about that because it was never anyone’s intention to cause such reactions; her team (she stressed that the shaping of the show is a collective procedure and she laughed at her usual labelling as an “auteur” because of that) mostly feared laughter. The explicit and fairly realistic depiction of violence was done to highlight by contrast the moments of tenderness (love-making, someone undressing and standing there in full vulnerability). Katie Mitchell spoke several times of the beauty and tenderness of the play and told the audience that she imagines scenes visually and tries to build them based on painting rules like the golden section (ah, those years of art history at school finally paid off for me). The sound was developed in parallel to the acting and it was an essential element to create the whole piece. In order to avoid that the actors were ‘lost’ in the darkness of the violence on stage, every passage was choreographed and precisely planned so that the mechanical succession of movements reduced the understandably shocking experience of being either perpetrator or victim. She also said that they tried to find solutions for all the stage directions given by Sarah Kane but the directions about rats were something they could not manage to follow: in another production in Germany the director used real rats but they were too shy and had no interest in running away with someone’s fake foot and when Katie Mitchell and her team opted for socks with eyes, the effect was just comic and detracted from the mood of the play. There was also a question about why violence on stage make people faint whereas violence that we see each day on TV or the web leaves us mostly cold. Katie Mitchell has about 10-12 new shows to prepare from now to 2019 and she said that she is happy in her work spread all over Europe. I know that she is considered a very polarizing and unapproachable director but after she nearly hugged me when I went to see “Cleansed”, I am definitely on the side of those who like her work. I found very interesting to understand how her productions are created and how important is for her to make sure that every detail fits with the general approach to a text. Now I am looking forward to hear her and Robert Icke talk about how they approached Chekhov at the Almeida on the 17th March.
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Post by MrBunbury on Mar 1, 2016 11:13:48 GMT
Hi All, quick question, does anyone remember the name of the play which opened last year which centered on a group of men held captive who resorted to eating each other. I'm investigating trauma theatre for my uni course and I cant remember what this piece was called!! Thanks :-) The curing room
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Post by MrBunbury on Feb 26, 2016 13:43:25 GMT
I'll tell you, peggs, I was in the front row which, strangely, is the best place to be if the action onstage threatens to overwhelm you - because that close you can see some of the artifice, the pulled punches and kicks, the fact that the torturers are not doing what they seem to be doing. Further back it would all be much more real. Plus, Michelle Terry is onstage for virtually the whole play and you can keep your eyes on her when things get rough elsewhere. My takeaway impression was not so much of individual acts, as outrageous as some are, but of the utter bleakness of the play's vision of the world - and of the courage and commitment of the actors to unwrapping it, level by level. Usually this is not at all the sort of thing that attracts me but I am now curious and not just because of MT. So I should perhaps try Friday rush, wear my contact lenses (glasses not good in case of fainting) and hope for the best? Yes, go. I am a person that does not even watch violent movies but I found the production of Cleansed interesting, probably because I am still trying to make sense of what Sarah Kane was trying to say. Violence is instrumental to the exploration of the limits of love. There is a Kate Mitchell's talk about the play on Wednesday that should be interesting, just to hear what her idea of the play is and what the audience will have to say instead.
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Post by MrBunbury on Feb 23, 2016 16:38:46 GMT
Nooooooo Not more Richard Jones I hope the set will not be again bright yellow...
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Post by MrBunbury on Feb 23, 2016 13:06:13 GMT
New season announced:
In the Main House
A Man of Good Hope Critically acclaimed South African company Isango Ensemble return to the Young Vic for the UK premiere of a gripping tale of survival, based on the book by Jonny Steinberg, which runs from 6 October to 12 November 2016, with an official opening on 13 October 2016.
"Asad is a young Somalian refugee in Ethiopia with a brilliant head for business. As a budding entrepreneur, he is in search of new opportunities abroad. And so he embarks on an epic journey to South Africa, hoping to find a promised land. But as he arrives horrific xenophobic violence ruptures society, sending the country – and Asad’s plans - into chaos."
The cast for the production includes Pauline Malefane, Noluthando Boqwana, Ayanda Eleki, Zamile Gantana, Sifiso Lupuzi, Bongiwe Mapassa, Zanele Mbatha, Katlego Mmusi, Zoleka Mpotsha, Busisiwe Ngejane, Sonwabo Ntshata, Luvo Rasemeni, Masakane Sotayisi, Luvo Tamba, and Ayanda Tikolo.
The piece will be conducted by Mandisi Dyantyis, with musical direction by Mandisi Dyantyis and Pauline Malefane, movement by Lungelo Ngamlana and lighting by Mannie Manim.
Once in a Lifetime Richard Jones returns to the Young Vic to direct Christopher Hart’s adaptation of Kaufman and Hart’s classic Hollywood comedy which runs from 25 November 2016 to 14 January 2017, with an official opening on 6 December 2016. It will be designed by Hyemi Shin with costumes by Nicky Gillibrand.
"Three actors in a struggling vaudeville troupe travel West to try their luck in 1930s Hollywood. With the advent of talking pictures, it’s a changing industry. A chance meeting with a film journalist gives the friends an idea: brimming with chutzpah they found a school of elocution for starlets of the silver screen, to help them adapt to ‘talkies’. When their scheme takes off they are plunged into the frenetic world of a Hollywood studio, full of glitz and glamour – but as their responsibilities escalate, will the lustre last?"
In the Maria Studio
The Emperor by Ryszard Kapuściński, adapted by Colin Teevan will be directed by Walter Meierjohann and star Kathryn Hunter, running from 3 – 24 September 2016 with an official opening on 8 September.
"A despotic ruler’s regime is beginning to crumble. We witness the downfall and debris through the eyes of his staff: a catalogue of characters created by award-winning actor Kathryn Hunter. Based on the book by Polish journalist Ryszard Kapuściński, The Emperor explores the artifice of absolute power."
The Nest Ian Rickson returns to the Young Vic with Conor McPherson’s new translation of The Nest by Franz Xaver Kroetz which runs from 28 October to 26 November 2016 with an official opening on 31 October 2016.
"Kurt and Martha will soon become parents. They both work hard to provide for their new family, to give their child the best and most comfortable start in life. They have to; the perfect buggy doesn’t come cheap. But when Kurt’s boss offers him a chance to make some easy money, his decision threatens the health of his family and the entire community."
Public booking for all productions will go on sale at 10am on 1 March 2016.
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Post by MrBunbury on Feb 22, 2016 13:18:01 GMT
Cleansed by Sarah Kane or Touched by Katie Mitchell... there's a tough choice... Haha, being shoved away by Katie Mitchell was less traumatic.
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Post by MrBunbury on Feb 22, 2016 11:51:29 GMT
When the friend spotted KM approaching, did they start to walk backwards? No, he was limping so probably he could not do that for that specific reason...
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Post by MrBunbury on Feb 22, 2016 11:02:36 GMT
I forgot to ask if the others who were at the Dorfman on Saturday night saw Katie Mitchell. She was in the foyer when I arrived and when I entered she smiled and came towards me. Then she put a hand on my shoulder and I thought: "How friendly!". It was only when she continued to walk towards the door that I realised she was trying to reach a friend of hers that was behind me. At least I can say that I was touched by Katie Mitchell, which put me in a good mood )
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Post by MrBunbury on Feb 21, 2016 11:39:24 GMT
I saw it on Friday and I found it thoroughly enjoyable. Katherine Kingsley is a powerhouse. It may need a bit of tightening but it was just a preview.
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Post by MrBunbury on Feb 21, 2016 8:39:35 GMT
I liked my seat very much - R31 in the gallery. But I'll wait until tomorrow to post more.... You weren't far from me at all. I was R43. Agree that the seat was great. No sound issues and perfect view. You were at the beginning of the same row where I was probably: I was in R67 and I could hear and see well (I lost a bit of the left corner but I could see all the important details...). I did not realize that someone had fainted. It was my first Sarah Kane's play: bleak as expected but rather interesting. Michelle Terry is very brave in this: I had only seen her in very different roles.
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Post by MrBunbury on Feb 19, 2016 16:17:18 GMT
Better seat for me too. I really think that the cause for the cancellation last time was the snowstorm as part of my company is based in New York and they had major problems just moving around the city on those days.
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Post by MrBunbury on Feb 18, 2016 13:28:31 GMT
I saw this on Tuesday night when by sheer good luck the show was followed by a Q&A section with the cast. I enjoyed the play and it is typical Caryl Churchill's material with echoes of Far Away and The Skryker. Listening to the cast explaining their opinion on what the plays says (since of course Churchill does not give an explanation) and how they perform it was very interesting: Linda Bassett said several times that all references to apocalyptic events she makes during the play are actually based on man-made disasters that have actually happened in reality. Nobody knows if those events have occurred before, during or after the meeting in the garden (which in any case is not a single afternoon but at least a couple of months). When asked if, in their opinion, the play is a bleak representation of the future or a reflection of resilience and survival, all actresses strongly supported the latter hypothesis, highlighting that it is not even about older women but simply about people with experience of pain, depression or trauma. Kika Markhem quoted the New York Times review as the best way to encapsulate the meaning of the play: “Escaped Alone turns out to be about the horrible consequences of mortal carelessness."
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Post by MrBunbury on Feb 17, 2016 11:45:13 GMT
And the exclusive booking period is from 1.30pm on Friday until 1.30pm on Monday 22 February, at which time any remaining seats will then become available for general sale (up to 4 per customer).
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Post by MrBunbury on Feb 12, 2016 11:01:57 GMT
Thanks! I have booked my ticket for July ( a good month to be on a boat on the Mississippi…).
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Post by MrBunbury on Feb 12, 2016 10:35:22 GMT
When will the tickets be on sale? Londontheatre.co.uk said today at 10 AM but I cannot find any place where they are actually sold.
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Post by MrBunbury on Feb 10, 2016 13:13:54 GMT
I thought it was wonderful. It's not Russian at all, but I agree with you MrB, it's entirely faithful to Chekhov in theme and mood despite the adaptation and modernising. It did take a while (I think it was only just over 3 hours now by the way, for those who care) but by the second act I was hooked. Some beautiful wringing performances, really detailed work, and just utterly stifling, which is a good thing. This Robert Icke does not miss a single shot at adaptations ) (unlike Uncle Johnny/Vanya)
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Post by MrBunbury on Feb 10, 2016 12:54:22 GMT
Michael Haneke and Johnny Foreigner. Both "on the continent". Yes, I wished the names had been preserved (I am not British, but 'continental'. Johnny Foreigner is a group from Birmingham...) but that is a minor detail as the production is faithful to the original in its own way. I think it will be another success for the Almeida, less radical than the Oresteia but very well-acted and Chekhovian.
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Post by MrBunbury on Feb 10, 2016 12:07:09 GMT
People next to me certainly seemed under the impression it was set in England. Complaints about, "very well acted, but English people just don't talk like that!" Oh and will some kind forum member please pop round with some WD40 for the revolve? I think it was set in England too. Michael and Johnny are hardly names that you find in the continent )
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Post by MrBunbury on Feb 10, 2016 12:01:07 GMT
I saw it last night. I think it is very good and the acting is excellent: Paul Rhys is a great Uncle Vanya (except that he is Uncle Johnny, as names have been anglicized, something I always find questionable) Bizarre. But it's still set in Russia ? Can't think of a single other example where this was done. Any reference to specific places has been eliminated so it could be anywhere and the time when the story happens is the present (the language is updated). Still it is an adaptation that works preserving both the plot and the characters' nature. I just wonder why they have to change the names though: can't British audiences relate to Russian characters? They will do the same with "The suicide" at the National so I am bracing myself...
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Post by MrBunbury on Feb 10, 2016 10:19:47 GMT
I saw it last night. I think it is very good and the acting is excellent: Paul Rhys is a great Uncle Vanya (except that he is Uncle Johnny, as names have been anglicized, something I always find questionable) and the set is both simple and effective. I loved the use of light in the second act.
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Post by MrBunbury on Feb 6, 2016 10:19:37 GMT
Has anyone else seen this? I saw it on Wednesday. I really liked the simplicity of the setting and the costumes (great use of the colours) so typical of Peter Brook's productions. The story is not immediately accessible as it is a fragment of the Mahābhārata (towards the end) but the actors manage to make every word resonate with truth. It is not a play for people who want to be entertained by a clear and engaging plot but I found it fascinating.
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Post by MrBunbury on Feb 3, 2016 13:24:01 GMT
Are there any dates for "The threepenny opera" and "Sunset at Villa Thalia" available?
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Post by MrBunbury on Feb 3, 2016 11:41:17 GMT
A Pacifist's Guide to the War on Cancer.....is that the London version of A Gentleman's Guide to Love and Murder? An unlikely title for a musical... A PACIFIST'S GUIDE TO THE WAR ON CANCER presents alternative, unheard and unexpected stories surrounding cancer. Written by Bryony Kimmings, Tom Parkinson and Brian Lobel, and supported by the Wellcome Trust, the show is commissioned and produced by Complicite.
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