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Post by nash16 on Nov 17, 2023 13:33:04 GMT
Harry for the win. That’s random. Just because she’s with the writer? Mark my words she’ll be in it and have the best part. It’s sweet, she’s his muse.
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Post by nash16 on Nov 17, 2023 13:31:56 GMT
Laura Donnelly 😂 As we all predicted.
First The Ferryman, now this.
It’s like when Gillian Anderson got Peter Morgan to write and get her cast as Maggie Thatcher.
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Post by nash16 on Nov 15, 2023 22:21:42 GMT
It’s baffling, isn’t it? Is she a friend of Ken? Read the article it says how good they are ..
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Post by nash16 on Nov 15, 2023 21:16:33 GMT
He scoured the length and breadth of the RADA foyer, and then forgot to direct them all. 🙄
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Post by nash16 on Nov 15, 2023 10:08:39 GMT
Icke is, as always, just photocopying what his daddy, Ivo van Hove, has done before. I feel his whole career is so unoriginal in this respect. The running time of this a prime example. 4 hours is only losing about 40 to 50 minutes of material. That isn't a cut, it is a light trim. Given how repetitious the plays are, there is no reason why the run time for a cut version should exceed 2hrs 30 including interval. 80 minutes for part one and 60 for part two. 4 hours is cruel on audiences and actors.
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Post by nash16 on Nov 11, 2023 1:57:18 GMT
I don't know what it is, but there will be something. The rumour I've heard is another musical is moving in from somewhere else for a limited engagement but I don't put much stock in that rumour and it's certainly not an exciting one. Oh God, not Sinatra…
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Post by nash16 on Nov 10, 2023 0:28:30 GMT
Just when you think the Royal Court can’t descend further…
Back from Press Night and it was just awful.
May the reviews be kinder than our group were about it tonight.
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Post by nash16 on Nov 8, 2023 22:26:35 GMT
So many not returning. So odd. Especially as they were the bigger roles. Wonder what happened?
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Post by nash16 on Nov 6, 2023 0:24:53 GMT
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Post by nash16 on Nov 5, 2023 16:55:44 GMT
For balance, we now invite Parsley1 to reenter the chat.
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Post by nash16 on Nov 5, 2023 12:46:19 GMT
Susannah Clapp nailing the bizarre pronunciation going on in this show in today’s Observer reviews (3 geeat write ups, including poor Lyonesse finally too): “ But why does everyone talk as if they were being jabbed between each word: “What. Is. The. Matter?” Is this ancient Britspeak? The effect is not quite pronounced enough to suggest a distinctive dialect but is more than sufficient to mangle the sense of the verse, with subjects and verbs waving at each other across the gulf of a pause.” I wonder if Ken feels bad about not directing all the RADA grads well enough? They’ve been slaughtered in the reviews. But then maybe that’s karma for promoting students from a drama school that really doesn’t need to give its students any more legs up? I think that people should try and be kind and compassionate instead of writing nasty comments like above .. Something has obviously happened to someone on the cast for them to cancel the show . I’d imagine if it’s Sir Ken is someone wrote on here he had a cold on Friday and he probs doesn’t have an understudy as he is the reason this show is virtually sold out . I do hope they re accommodate those canx tickets by putting on extra performances .. so many people want to see this. Re the show I go and watch a lot of London shows and I’ve never commented before … HOWEVER I think the reviews on this one are very very harsh . We British don’t like successful people for some reason especially when they are as talented / successful as Sir Ken ..acting / directing / writing lots of Oscar nominations .. the critics are also Slamming Lyonesse for similar reasons I feel . Let’s encourage our very successful screen actors to step back on the stage not pull them part when they do .., Sir Ken has made this King Lear for the people .. yes it’s commercial and not what you will see at the RSC but frankly last time I watched KL it was far too long and boring being no Shakespeare expert I couldn’t understand it .I’d much rather watch this . This show is totally different .. Sir Ken and the very talented ex RADA cast make it easy to understand with the pronunciation … it’s shortened yes and 2 hours is long enough . I found it fast moving and extremely well acted . The Stonehenge setting is clever and as he is a young King Lear that makes sense as does the young cast probs all under 35 . Everyone I was with loved it and there was a standing ovation and loud cheers so I guess the rest of the audience did too . Looking at the cast list a couple of brand new graduates who were great ( most of the cast have worked quite a lot post Rada )but why shouldn’t he promote the drama school that trained him and where he is President ? Good for him giving these talented young actors a great showcase . I love Sir Ken’s performance as Lear .. very modern take on it . Almost having a break down in front of us instead of going completely mad .. he is a joy to watch performing Shakespeare for the masses like me . Keeping it simple ! What a wonderful actor and director ( maybe people just don’t like the fact that he does both ?) My favourites in the rest of the cast are hard to pull out as they are all so good ( credit to Rada training ) but doubling of Cordelia and the Fool just like it was done in Shakespeare times played by Jessica Revell needs a special mention . I think people will look back at this show and say how lucky they were to see Sir Ken play King Lear at 62 in the West end
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Post by nash16 on Nov 5, 2023 12:41:38 GMT
Wow, it’s found it’s target audience pretty quickly! Oh dear, show stopped for rowdy audience members to be thrown out tonight.
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Post by nash16 on Nov 2, 2023 11:21:11 GMT
Ah yes, those RADA actors, that need that break so much more. We watched this on Monday evening and enjoyed it. Notable actors have ‘helped out’ RADA before by acting with students in the RADA studios - Tom Hiddleston appeared in Hamlet (directed by Ken Branagh) a few years ago there.As RADA President, it isn’t really surprising Ken should act in and direct Lear. I suspect the two hour non stop running time, is maybe partly to try to engage younger people with shorter attention spans than the three plus hours Lear usually needs. (Though it does mean the deterioration of Lear, etc, is speeded up a bit!) But think that’s Branagh’s big problem-he can be a great actor and a great director, but he cannot/shouldn’t direct himself (not many actors can). He would be better off doing one or the other, but not both at the same time. (Does he give himself notes?!) However, he is one of the few great Shakespearean actors, alongside McKellen and Dench, in as far as he has a way of delivering the lines which make them instantly understandable - many times we’ve had to ‘tune in’ to the Shakespearean language with other actors, but with these three you don’t, it’s understandable straight away. Couple of observations re Branagh. Gorgeous hair, makes him look more older Thor like, than old Lear. We were sat quite near the front in the stalls so could see facial expressions pretty well-he didn’t seem to feel it in his face(if that makes sense) his eyes pretty much didn’t change expression. Oh also, the ending was the theatrical piece you might expect from Olivier. 😉 Would say McKellen’s version is by far the best Lear we’ve ever seen, but this is perfectly fine, but could have been better (and the RADA cast were good enough, particularly the older ones who’d been off and done other things and came back to perform in this). And yes, it is pretty much sold out.
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Post by nash16 on Nov 2, 2023 11:18:46 GMT
I’m seeing an empty stage, lots of side lighting, some onstage camerrrrras, and, in the the title number, Dolly descending covered in the blood of her fox fur, and the ensemble facing away from her whilst monotoning “Hello”. The lighting will reduce and reduce over the course of the show. The curtain call will be solemn, and Imelda will be refused a bow. Instead, the Ensemble will simply point at her. Dominic Cooke will be arraigned for stealing Lloyd’s vision. Lloyd will have already been arraigned for stealing van Hove’s. 5 stars. That’s lovely- but it’s Rae Smith Designing it. I’d heard that what was designed for the Adelphi was very brown and dour- let’s hope she’s found her red and gold paint by now. Just looked at her website and her work certainly seems very muted and dark. Not typically Dolly
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Post by nash16 on Nov 2, 2023 9:40:50 GMT
Just read the reviews and got an email from Nimax saying Rows D through X in the Stalls anlongside other levels imminently unavailable. This was such a poor show. And we were sitting close so that Act 2 opened just looked like some weird, 70’s TV special effect, as you could see all those poor actors in their black onesies. Nick Curtis in the Standard just wrote some akin to “you know it’s bad when you come out whistling the set”. Yet still we’re going to continue with this baffling onslaught trend of movies into musicals? When there’s so much original work wanting to be staged? Lawdy. What do we think will replace it? I sat there several times for ... Jamie as the front row was priced £20 then. It is one of the highest stages in the West End so probably not for the vertically challenged, but considering the second row is priced up to £95 it's good value and - as with Jamie - those seats will sell quickly. I've booked a Saturday evening in December so thanks very much for the tip off ! Had an email from Nimax Theatres that the front row B is no longer available and we've been switched to row C with the offer to be moved further back if preferred but I'll stick with C Guess too many people complained about the very high stage
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Post by nash16 on Oct 28, 2023 18:56:46 GMT
Fear not. You are not alone. I think a lot of musical theatre fans have never seen camera work like this in their shows, whereas play goers have seen it for the past 15+ yrs, thus minds being blown. But everything “innovative” in this is actually stolen (mainly from Ivo Van Hove. The filmed-walk-around-building-whilst-singing idea was Ivo’s for his West Side Story not so long ago, for example). That guy playing Joe could sing gobbledygook at the start of Act 2 as no one is listening to what he’s singing, just pointing going “we were just by that pub”. 😂 A lot of (borrowed) Emperor’s New Clothes. Am I alone in thinking this production is overwrought, over-indulgent and frequently incomprehensible to anyone unfamiliar to the original narrative. And as for that tour round the Strand at beginning of Act 2 - all very clever but WHY??
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Post by nash16 on Oct 26, 2023 16:26:26 GMT
Only about 6 the night I saw it. The two Americans in front of me jumped up, but then only a few front stalls.
It was just over 3hrs and when you get a play that long (and this bad) people are normally too tired to stand. (Unlike Sunset Boulevard where they seem to be standing every five seconds, Britain’s Got Talent itus style…)
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Post by nash16 on Oct 24, 2023 23:01:20 GMT
I don’t want to get into “spoiler” territory (mainly because I still don’t know how to do the Spoiler thing on here, haha), but I was in awe of how that actor managed to deliver any of his lines and make them sound remotely natural or logical. I felt the script actually made him look bad as an actor, let alone a character, in the first half. He seemed better in the second, even though none of what occurred was remotely believable. Pantomime baddie is the right description. It’s only been an hour, but even recalling it now is painful. And anger inducing. And they’re stuck in it until Christmas. Flip. Yes and I also do this and not being contrary or difficult And we ALL get caught out And don’t want to go around thinking everything will be rubbish and being so cynical! But it’s a cause to reflect especially when it comes to the WE and there is so much great theatre elsewhere for much less Royal court, almeida, Donmar, NT I have become ruthless with WE now It is (or used to be) particularly exceptional to premiere a new play direct into the WE… Generally for me it raises suspicion 😂 And I sorry you didn’t enjoy it It is a very very long painful evening disjointed Did you find the husband particularly unrealistic may I ask? Do men behave like this pantomime storybook baddie?
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Post by nash16 on Oct 24, 2023 22:43:20 GMT
Can you return it for credit and book a cheaper one? (Or avoid…) Ah balls, I've paid full whack for this.
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Post by nash16 on Oct 24, 2023 22:42:28 GMT
We booked up to see it in the hope it was going to be great. We can’t be “guilty” when we don’t know the quality of the play or performances, as it’s a brand new production and play. They are the guilty party. But yes; maybe an email to Sonia to say “WTAF was that?”. Oh dear. How was this allowed to be staged? It’s not ready. Script or performances. Probably because of the script. There’s about 11 plates spinning and all of them crash to the ground long before the end. Paid for Balcony, so that’s the only relief. It didn’t seem to have a focus, and the Doon/Lily scenes seemed from a different play entirely. Stunned that Ian Rickson directed this. It’s baggy, slow, and wondering. And Kristin Scott Thomas (although very funny in her “monologue” looks lost. Oh for the Pinters she did to return. Imagine paying through the nose for this. Press Night tomorrow. Yikes. Partly we are all guilty As we both booked and paid to go and see it Hence facilitating poor quality material The playwrights previous works onstage are just as patchy I think paying audiences Particularly those in the WE should take some responsibility towards what they are enabling Does anyone write to the producer or director or playwright to feedback? It is particularly symptomatic in the WE over the last year there have been several dreadful plays all of which have attracted leading or famous actors And done good box office numbers The issue will go on People book ahead for new plays It’s the risk
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Post by nash16 on Oct 24, 2023 21:49:19 GMT
The Britain’s Got Talent ovations need to get in the bin. Not to take anything away from the Nicole and Rachel, but I've seen six productions of Sunset and Norma;s two big numbers have always, always, received rapturous ovations from the audience. They are two of the most foolproof ALW songs and the only surprise would be if they somehow fell flat. I assure you sir…not to this extent.
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Post by nash16 on Oct 24, 2023 21:47:44 GMT
Oh dear. How was this allowed to be staged? It’s not ready. Script or performances. Probably because of the script. There’s about 11 plates spinning and all of them crash to the ground long before the end. Paid for Balcony, so that’s the only relief. It didn’t seem to have a focus, and the Doon/Lily scenes seemed from a different play entirely. Stunned that Ian Rickson directed this. It’s baggy, slow, and wondering. And Kristin Scott Thomas (although very funny in her “monologue” looks lost. Oh for the Pinters she did to return. Imagine paying through the nose for this. Press Night tomorrow. Yikes.
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Post by nash16 on Oct 22, 2023 23:06:38 GMT
This makes sense though, as only West End fans will know who Rachel is. The majority of the public/coach parties/out of towners seeing a show will want to say they’ve seen Nicole. Even if they’ll get a better acted performance from Rachel… Plus, Monday nights. Not a big “going out” night. Here’s to Rachel getting the audiences she deserves. Just glancing at ticket availability for Monday nights compared to other nights and it does seem that there is far more availability for non-Nicole performances
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Post by nash16 on Oct 21, 2023 7:12:46 GMT
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Post by nash16 on Oct 17, 2023 18:43:33 GMT
Went last night. Didn’t realise it was a play from 1996. For some reason I thought it was brand new going in. Oh dear. I can only chime with the audience members overheard above. It’s far, far too gloomy, almost relentlessly so. And, more pressing, we don’t care about the title character. She gets no journey, rather a repeat of scenes which all follow the exact same pattern: beginning with how great/troubled Portia is, and then Portia or another family member pressing the self destruct button. Then we have songs which slow everything down every further, as nicely sung as they are. Repeat for a further 15 scenes. And they’ve put an interval in, just to drag out the pain. (In Ireland, Denise Gough’s take ran straight through). There were at least 6 non-returners after the interval. Alison is a great actress, but this is a depressing evening.
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Post by nash16 on Oct 17, 2023 18:37:08 GMT
Obviously aiming for the Tony Awards window, but I think it will backfire with low sales meaning they’ll have to close early.
A couple of nights at a 54Below would have been more sensible.
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Post by nash16 on Oct 15, 2023 20:03:09 GMT
3 stars. “More hologram than heart.” Nails it.
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Post by nash16 on Oct 11, 2023 16:46:48 GMT
It’s probably more technical difficulties, after last night. But the only way to confirm this is if the show DOES go on tomorrow night, and they Press as planned, because that will prove it wasn’t “cast illness”, which one would imagine would take longer to recover from than just a default 24 hours. If they lose the technical side on opening night, the whole “emperors new clothes” of it all will fall apart pretty quickly, and they won’t won’t to risk that happening. Gutted about tonight Does anyone know how ATG approach cancelled performances? Is it it a refund, or like for like priced seats or equivalent seats? It's particularly unfortunate because the prices go up after Press Night. The tickets I have for tonight are more than double the price going forward. Also, I wonder if it's cast illness or actually more technical difficulties... Either way - hope all involved are ok!
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Post by nash16 on Oct 6, 2023 13:21:23 GMT
Atypical of our current, disgusting government. Just wanting to check you’re not equating what I wrote with them? Before I involve Admins… If you're quoting BTTF, I think "...you're children are gonna love it..." would be more appropriate. JSO is a childish attempt at disruptive anarchy by people with no purpose in life - they're either silly little student kids or retired old has-beens, all of whom think soft protests will make a difference. They look decidly amateur compared to more organised groups. This is while the oil companies tolerate them, because they pose little or no threat other than to sway public opinion against their cause. JSO are the biggest threat to green goals and ambitions - rich-backer funded anarchy. It's Brexit all over again. "I think people get enraged by them because they know, deep down, that JSO are absolutely right." That reminds me of a Home Office psychiatrist many years ago who said that the more gay people insist they're gay, that shows they're really heterosexual deep down.
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Post by nash16 on Oct 5, 2023 13:42:18 GMT
Because (and hold another front page for this, and maybe sit down before you read on) people can be theatre lovers and not want themselves or future generations to die because of how we are treating the planet in the way we are. This might take a while to process though. Steady yourself. Well, your utopia is on fire, babes. I think people get enraged by them because they know, deep down, that JSO are absolutely right. “But my night out! My night OUT!!” JSO defenders live in a peculiar no-man's land where almost any amount of petty, untargeted cruelty can be excused, but actually mounting direct resistance against the forces driving climate change is somehow infeasible. If JSO are "right", then what are you even doing on this forum? Why are you treating yourself to "nights out" while simultaneously decrying "nights out" as selfish, privileged diversions that nobody is entitled to enjoy?
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