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Post by foxa on May 21, 2017 18:09:42 GMT
And I was in the 'rather liked this' camp. It had its longueurs, particularly in the first half, but then I found myself very engaged in the second half. We enjoyed the strong, characterful cast - I thought all the women were good and really all the men as well - Giles Terera had a terrific scene in the second half, thought the trial, including audience participation worked well, enjoyed the singing, use of the space was interesting.....Lenny Henry wasn't, probably, entirely right (my husband kept saying, 'I wish I'd seen Leonard Rossiter in this role, he was meant to have been amazing' - which will mean nothing to anyone on the forum under 50 or so) but yeah, we thought it was diverting and thought-provoking (husband offered a lecture on the way home dissecting the bits of the play that resembled Richard III and the bits straight from history - a la Hitler's night of the long knives, apparently.)
Compared to Woyzeck which I saw two days prior it was a work of genius - in reality, probably 3 and a half stars.
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Post by foxa on May 19, 2017 14:04:54 GMT
I was really disappointed by this. We considered leaving at the interval but stuck it out. We had slightly restricted view seats in the dress circle, but could easily see pretty much everything, whether we wanted to or not. It left us cold, but obviously others liked it and I think there were a half dozen people or more giving it a standing ovations at the end.
Thorne tried to flesh out why Woyzeck was in such a state - and boy, he came up with a lot of reasons: abusive mother, something upsetting while serving in Belfast, lack of money due to a barracks situation, pills.....but by supplying all this realism what was lost was the poetry and raw symbolism of the original: the circus with its numerate horse; the moon and hunting imagery, the woods, the Drum Major, the blind woman, the nihilistic fairy tale ....And the lack of all this wasn't satisfactorily replaced by having actors marching around with over-sized boxes of laundry detergent.
I don't think Boyega is a bad actor - but he wasn't very interesting and the scenes between him and Sarah Greene were almost painfully dull. I felt sorry for Nancy Carroll - what a terrible role. To me, it seemed a strangely unimaginative production - but as I said, others clearly liked it.
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Post by foxa on May 19, 2017 8:31:52 GMT
Thanks for the heads up that booking had gone live early. I've booked two rear stalls, nothing in the dress circle for £10 for the date I wanted, but should be fine.
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Post by foxa on May 18, 2017 11:08:36 GMT
Starring Ben Whishaw, written by Christopher Shinn, directed by Ian Rickson.
Reminder that Friends booking begins today (despite an email reminder, I forgot until a few minutes ago.) Booking seems fairly brisk with a little online glitchiness but I got £10 seats for a Saturday fairly late in the run. I think public booking is in a few more days...
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Post by foxa on May 16, 2017 16:31:56 GMT
I saw the 1993 production at the Court and this one is a LOT better. You make not like the material (though my guest and I did - A LOT), but I wouldn't pass up a chance to go. I agree - this is a better production than the 1993 which (at least in my recollection) was slow and self-important - but then I liked this production, I laughed a couple of times and thought there were a couple of 'wow' moments to weigh against the 'meh' and 'heh' ones. IMO this is MUCH better than Obsession, if you are looking at this on an imaginary sliding scale of badness. But I was feeling mellow after the nice meal at Radici, so that did help.
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Post by foxa on May 11, 2017 19:02:35 GMT
Bellboard - I think I have been at the same performance as you. Were you seated in the centre area near the edge of the circle towards the bit of the stage where some dramatic scaffolding/smoke appeared? I'm only guessing that person might have been you because he looked a bit like you avatar....
We had great value £10 Row D tickets - unlike mallardo, I wasn't envying the cushion dwellers, some seemed to really be struggling to get comfortable: lying, sitting, using multiple cushions....There was also a lot of kerfuffle about if you could bring your coat/bags into the space.
I agree that Brendan Cowell was terrific and there were some great effects: the Planetarium, the 'band', one of the big entrances, but some of the cast were under-whelming. It's a hard configuration to play and some of the actors just seemed to get lost in it, especially vocally. I didn't get a programme, but the actor playing the young man/student did well, I thought, but characters like the daughter didn't really register. However it was an early preview and I thought it might pick up. The audience was very quiet, almost to the point of seeming unresponsive during the show - at one moment there was a tiny bit of applause and Cowell, was like 'Yes, come on, some encouragement...' and then there a bit more.
For me, 3*
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Post by foxa on May 10, 2017 18:06:08 GMT
I think the ticket prices you looked at were the site-we-don't-name's priority offer with an agency, including booking fees, Dawnstar. I booked for the ENO via their website this morning. Very impressed that side dress circle, and row L sides are just £20. Excellent views, amazing prices. In fact, the whole house is nowhere near as grossly overpriced as Carousel. Expensive, sure, but a far wider range of more reasonable prices, I felt. Oh, and for a nice change, the online booking system actually worked! I'd missed this topic earlier but got an email about the show today - before booking, of course, checked here and have gone for £20 Row F side dress circle - which seems pretty good to me. Now the trick will be remembering for 13 months or so that I bought these tickets - I didn't really check dates carefully before booking and ALMOST (but not quite) ended up double-booking with my other way in advance buy ...Hamilton. No problems with booking but the 10 minute time limit - if you have forgotten your password as I had - is a bit tight.
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Post by foxa on May 9, 2017 14:52:43 GMT
Hmmm...I think the first is right. I think it was an hour, then 15 minute interval, then 45 minutes or so second half....but I wouldn't swear to that.
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Post by foxa on May 6, 2017 23:19:14 GMT
oh damn, Foxa, how not faint hearted is this? Brief moment? Lots of it? I'm going to try to the spoiler thingy so hope this works. {Spoiler - click to view} There is an eye gouging scene. There is a description of a fork having been sharpened to do it and quite a bit of build up. One eye is done by one character and the other by another. There is quite a bit of blood. There was also, it seemed to me, a popping noise with the second one which was icky. That's the only gory bit and it made me a little tense, but I'm not particularly squeamish. It's probably on a par with the Gloucester eye-gouging in most King Lears (and I think that was what was being referenced.)
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Post by foxa on May 6, 2017 8:42:01 GMT
This was a pleasant surprise for me, partly perhaps because I'd braced myself for the worst and partly because I took n1david's advice and had a really tasty meal at Radici beforehand (aubergine pizza, almond cake with berries....) I think the play itself is only so-so (pretentious and self-regarding, but with moments of humour and originality. Ambitious - Shakespeare references abound.) However this is given a first-rate production . The director, Lyndsey Turner, has done a fantastic job mining the text for quirky, interesting moments and creating some beautiful stage pictures, as has the designer Giles Cadie and the actors, especially Indira Varma, Aisling Loftus and in a much smaller role, Ben Onwukwe. The first two scenes were really strong - probably the best writing in the piece - with Varma lightly catching every bit of the humour and absurdity of the situation. I also enjoyed the writer character played by Ian Gelder and his helpless plight. Julian Ovenden's part just didn't make sense and where perhaps there might have been an emotional/moral centre or else a satiric point - it just seemed weak and contradictory. However I LOVED the final image of the play. There are also a lot of extras who add to the ambiance and mood.
For the faint-hearted? Possibly not.
Take Away: Who owns your story?
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Post by foxa on May 4, 2017 19:57:16 GMT
I just looked to see if I could see anything odd and logged on fine. Sorry to ask a silly question, but are you sure you are putting in the first four numbers of the long number from your card and not the last numbers or the security code (it's unusual to ask for the first four numbers)? You should put in that number and then you should be able to scroll down to the bottom of the page and click on the play you would like to book for. Sorry not to be of more help but hope it works for you eventually. Yes this is exactly what I'm doing, I can get to the welcome page and then click through to Mosquitoes but when I click 'Dates and buy tickets' it goes to the error message... weird. Sorry, partytentdown - I think the system is playing up. I checked soon after you first posted and it was fine (I actually booked two seats for Oslo) but after your second email I tried again and was having the same experience as you - on Mosquitoes it said i wasn't authorised and on the others I tested it said 'Whoops something went wrong' and only showed booking for members. Possibly the Amex allocation was sold out or they are just having a glitchy time - but at least you know it's not just you!
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Post by foxa on May 4, 2017 19:22:48 GMT
I just looked to see if I could see anything odd and logged on fine. Sorry to ask a silly question, but are you sure you are putting in the first four numbers of the long number from your card and not the last numbers or the security code (it's unusual to ask for the first four numbers)? You should put in that number and then you should be able to scroll down to the bottom of the page and click on the play you would like to book for. Sorry not to be of more help but hope it works for you eventually.
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Post by foxa on May 4, 2017 18:56:27 GMT
My daughter is there somewhere. Sounds fun.
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Post by foxa on May 3, 2017 19:44:59 GMT
Sounds unusual couldileaveyou - thanks for the review. In Lloyd Hutchinson's defense, he can be very funny - he was terrific in Life is a Dream at the Donmar and as Lucio in Measure for Measure at the Almeida. Pilate may be a stretch, but he can work an obscure Elizabethan joke with flair - so, for that, he has my gratitude.
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Post by foxa on May 3, 2017 7:45:25 GMT
American Express klaxon - just booked some tickets and nabbed a couple of cheap (£18) but probably terrible seats for Mosquitoes and some tix for Follies. Very easy booking and stuff is available.
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Post by foxa on Apr 28, 2017 22:08:34 GMT
For the first half hour I thought this was possibly going to be intriguing, but, ultimately, I enjoyed Steve's brilliant review and insight into it more than the play, which, frankly struck me as ludicrous. Even seeking out the isosceles triangles couldn't lift our spirits.
Jude Law was good - I don't think anyone else would have been better - and I admired him for trying something experimental. There were a few moments when his beauty and physicality and commitment almost raised it to something. But it just got more and more ridiculous. Dud lines like, 'Well, that was special.' That artist Johnny character going on about what a great time they'd had together when they really, really hadn't. The cop character who stood around with his hands in his pocket. The odd truncated sink. The travelator. At the end, people near us were shaking their heads in what looked like disbelief and the reaction was generally muted. I brought an adventurous broad-minded theatre-goer and she was a good sport about it, but most of our discussion centred on what was worse - the play or the production.
2*
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Post by foxa on Apr 27, 2017 16:09:13 GMT
You guys are bad for my credit card. I had determined not to book for this - didn't really know much about it and it all seemed so much in advance with nothing in particular to draw me to it but then....I ended up booking £25 tickets for the first two shows. I agree with Xanderl though that booking so far in advance for Nightfall with no cast announced didn't seem particularly appealing. But booking was totally painless and it seems worth trying to support a new venture.
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Post by foxa on Apr 27, 2017 13:21:02 GMT
Think it's just Mondays. But FWIW, I see there are two tickets available for tonight - so if you are quick....
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Post by foxa on Apr 27, 2017 7:42:59 GMT
how's my imaginary boyfriend Fra Fee in this He was good. I liked the way his character was written - it seemed like he was going to go one way, but then went another in a way that seemed absolutely right to me. He's part of the big, vibrant family. Great name too.
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Post by foxa on Apr 26, 2017 17:58:24 GMT
Show report (Preview) Programmes: Highly recommend the £3 script/programme. Running time: As mentioned above. 3 hours 15, with one 15 minute interval after one hour, and a 'pause' about an hour after that. Anything go wrong: A few technical hiccups including a radio that just didn't want to be turned off. A clumsy in vision set change. Children/animals: Yes. Some particularly good child actors, charming/funny. Acting: Yes, a lot of it. Script: Think Chekhov mixed with Friel and a bit of McDonagh. Audience: Rapturous, though largely seated, response afterwards. Highlights: First act when more and more characters appear. Party with music. What a luxury to have such a big cast. Anyone stand out: Brid Brennan (though due to how she was placed on stage, far downstage right, we could hardly see her from our Circle seats) had a beautiful speech. I really liked Tom Glynn-Carney as Shane Corcoran and Laura Donnelley as Caitlin Carney. Stuart Graham has a beautiful voice. Deabghla Molloy packed some wallop as Aunt Pat. Take away: Ireland - it's complicated.
5* Loved it and think it will get even better.
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Post by foxa on Apr 25, 2017 16:12:46 GMT
Yeah, I haven't seen this yet but was thinking about going because I've enjoyed work by both the director and designer before and the cast sounds like they are good. I think the title is absolutely terrible and maybe the concept isn't right, but I can't believe it is anywhere near as bad/dull as stuff I would consider 1 star (yes, show in Edinburgh which was just an hour of blankly listing names and dates, I'm looking at you.)
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Post by foxa on Apr 24, 2017 8:20:51 GMT
Tuesday: Ferrymen Friday: Obsession.
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Post by foxa on Apr 23, 2017 11:29:15 GMT
I know a couple of people on here loved Song From Far Away, but it remains a low water mark for theatre in my household ;-)
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Post by foxa on Apr 23, 2017 8:26:56 GMT
The little I have seen on twitter is very bad. Stuff like: 'play by committee.' 'Looks a dream team on paper but...' 'attempt to kill off theatre' 'spectacularly bad' 'portrayal of women is AWFUL' and (unusual this one) 'the audience left angry.' So more Song from Far Away than A View from the Bridge or Hedda, I reckon. My daughter was going to come with me, but I simply can't inflict this on her (it took her months to recover from Song from Far Away - I'm not sure still that she has.) At least I got relatively cheap seats.....
I have to say I'm surprised - I've always though Law was quite savvy in his theatre choices. Or (she says optimistically) maybe they are struggling during previews and then something magical will happen.
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Post by foxa on Apr 22, 2017 9:26:03 GMT
Damn, Going on Friday.
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Post by foxa on Apr 20, 2017 20:35:04 GMT
I just looked at the cocktail menu for the American bar - it was the least American thing in the world. I was expecting Hemingway Daiquiris and Tennessee Williams mint juleps but it's very London! (But sounds lovely.)
CoudIleaveyou - how dare your ex ruin a bar for you. Make sure next break up takes place in a Gregg's. ;-)
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Post by foxa on Apr 20, 2017 15:33:44 GMT
What a lovely response. Whenever I am feeling doubtful I would love to get such a detailed and soothing reply from longinthetooth!
Reecyroo - enjoy.
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Post by foxa on Apr 19, 2017 18:46:09 GMT
I think most actors are pleasant - no one wants a reputation for being a jerk. I have a special place in my heart for some of the actors who were very kind to my students when we'd come to see a play at the Donmar. There would be a Q&A session after the performance and actors like Simon Russell Beale and Eddie Redmayne were so generous with their time. Both tried to break down what they did in a way that was interesting and helpful to the students (and Beale charmingly demonstrated how a particularly bloody effect was achieved on stage.) My son and I met Christopher Ecclestone after a show and he also was so friendly and interesting and genuine (or so it seemed to me.)
Also can vouch for Mark Rylance. My husband had a badly burnt hand but felt he couldn't turn down an invitation to a party for work reasons. He was feeling a bit sorry for himself trying to balance his canape and drink with his big bandaged hand while more famous and powerful people swirled around him, when Rylance (who he didn't know) approached him, asked how he'd hurt himself and was funny, concerned, charming.
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Post by foxa on Apr 15, 2017 8:51:13 GMT
Finally caught this shortly before it closed. Show report: Play: Steve Waters has carved out an unusual niche. As with Temple, he writes about about intelligent people trying to make the unglamourous centre ground hold in shifting times. Also, as in Temple, touches on the vanity of politics. The play presents no solutions (how could it?) and we were rather dispirited as we stepped out into the night air. Casting: Fine, though unusual in having a couple of actors rather less attractive than their originals (I don't think Owen or Rodgers would be flattered.) Food: Yes, made me want to whip up Delia's macaroni and cheese. I felt they should have eaten more salad. Audience: Rather subdued. The obvious parallels with now made for some rather sad listening and knowing nods. It was sold out with standing room full too. There was an altercation near me with a man who didn't want to sit in his seat (not sure why) and was sitting on stairs instead. Was moved (he chose to stand) but not until some harsh words were spoken and the usher plaintively said, 'You don't have to swear at me.' Staging: Fine, but in many ways it is a very untheatrical play. There is a movement director credited and I can't imagine what they did - advised Chahidi on how to act having a bad back? Insight: I wanted to learn more about Debbie Owen - intriguing moments about her contributions. Also interesting points about how a new party is formed - can it be imposed or does it have to rise organically. Take away: We're all doomed.
3/4*
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Post by foxa on Apr 14, 2017 16:25:55 GMT
Of course we want to see your and Audra's pic! What was she like?
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