905 posts
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Post by lonlad on Feb 13, 2016 1:00:55 GMT
Billington was at VANYA tonight ..... !!!!
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117 posts
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Post by alexandra on Feb 13, 2016 14:54:33 GMT
He was there, but where's his review? Hurry up Billers.
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2 posts
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Post by eliotrosewater on Feb 13, 2016 18:08:39 GMT
Maybe the typewriter got all jammed.
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Post by Deleted on Feb 13, 2016 19:33:21 GMT
You would think
If the Almeida is so stylish
They are stuck up their own arses
That they might install non Tw*t seating
Which is not in pairs
Hardly lavish
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905 posts
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Post by lonlad on Feb 13, 2016 19:44:40 GMT
huh? since when did the Almeida lay claim to being "lavish"?
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Post by Deleted on Feb 13, 2016 22:54:11 GMT
4 in one week What a load of sh*te this is Cancelled my Almeida donation Sick of this venue Makes me vomit since Goold took over The fact the bastardised "adaptation" runs over 3 hours yet is directed by the same idiot who did the adapting speaks volumes. The arrogance of the Almeida to start it at 19:30 is unbelievable. If anyone thinks that the piles of sh*t offered at this venue are a true Uncle Vanya or Oresteia. Shame on you all. From now on I shall actively avoid anything he is associated with. People think Katie Mitchell is polarising. She is a genius compared to this novice. Such a shame the way theatre is being polluted and diluted and totally shafted in the arse by a new generation of useless idiots tampering with classic plays. Anyone can take a Chanel dress and sh*t on it. It's easy. Maintaining respect for the tailoring and artisan skills over decades and presenting the garment as enduring with universal appeal is quite something else. Also, why do the Almeida programmes say "Official Programme" on the front. Is there some secret black market in fake programmes, such is the prestige of the theatre?  ? |
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Post by Deleted on Feb 13, 2016 23:38:19 GMT
Foe the benefit of any new readers, parsley does this all the time, if not totally adoring something claiming that it is the worst thing ever (to be swiftly followed by the next worst thing ever a week or two later).
It should perhaps be noted that Robert Icke directed the critically lauded West End transfer of The Oresteia (also adapting), also the critically lauded West End transfer of 1984 now in the US and so on.
The truism that reviews say more about the reviewer than what they review should give people pause, but so rarely does. If nothing else, if someone walks out of four productions in a row, they must make appalling choices.
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Post by Deleted on Feb 13, 2016 23:41:15 GMT
Foe the benefit of any new readers, parsley does this all the time, if not totally adoring something claiming that it is the worst thing ever (to be swiftly followed by the next worst thing ever a week or two later). It should perhaps be noted that Robert Icke directed the critically lauded West End transfer of The Oresteia (also adapting), also the critically lauded West End transfer of 1984 now in the US and so on. The truism that reviews say more about the reviewer than what they review should give people pause, but so rarely does. If nothing else, if someone walks out of four productions in a row, they must make appalling choices. Did not pay for any of them And they weren't my choice I was obliged to attend them |
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Post by Deleted on Feb 13, 2016 23:43:40 GMT
Foe the benefit of any new readers, parsley does this all the time, if not totally adoring something claiming that it is the worst thing ever (to be swiftly followed by the next worst thing ever a week or two later). It should perhaps be noted that Robert Icke directed the critically lauded West End transfer of The Oresteia (also adapting), also the critically lauded West End transfer of 1984 now in the US and so on. The truism that reviews say more about the reviewer than what they review should give people pause, but so rarely does. If nothing else, if someone walks out of four productions in a row, they must make appalling choices. I think we can recall another critically lauded production recently A musical |
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Post by Deleted on Feb 14, 2016 1:07:32 GMT
The thing is though, with the classics like Hamlet and Uncle Vanya and The Oresteia, I don't see why people shouldn't fiddle about with them. Theatre practitioners should always have the freedom to experiment with things, even if these experiments don't work for everyone, and with plays like these, it doesn't matter if one particular translation or reimagining isn't to your taste, because the next production will be along in a matter of months. Along the way you'll learn which particular practitioners don't seem to appeal to you personally, so you can choose to avoid them in the future, but that doesn't automatically mean they're terrible at what they do, especially in the case of Icke whose Oresteia went down particularly well with basically everyone else.  |
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Post by Deleted on Feb 14, 2016 9:16:11 GMT
Baemax, you said exactly what I was about to say! So since I'm here I'll just say that I hate the seating at the Almeida - I ALWAYS share a bench with a shuffler or a jiggler and get bounced around all evening. There much be a better way...
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Post by Jan on Feb 14, 2016 14:11:02 GMT
Foe the benefit of any new readers, parsley does this all the time, if not totally adoring something claiming that it is the worst thing ever (to be swiftly followed by the next worst thing ever a week or two later). It should perhaps be noted that Robert Icke directed the critically lauded West End transfer of The Oresteia (also adapting), also the critically lauded West End transfer of 1984 now in the US and so on. The truism that reviews say more about the reviewer than what they review should give people pause, but so rarely does. If nothing else, if someone walks out of four productions in a row, they must make appalling choices. That truism doesn't seem to have given you any pause for thought because in the previous paragraph you have said the productions were "critically lauded" as if that somehow invalidates Parsley's criticism. |
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Post by Jan on Feb 14, 2016 14:21:01 GMT
I agree with you in theory Jan. Of course any of these people could have just got in the car and driven to the nearest city. Which, in fact, some of them do in the play (in the original too I mean - not in a car, but they leave). But the others are trapped by their temperament, character and situation more than by their location. It doesn't seem to lose that sense of entrapment in the playing, here. I see Billington agrees with me that the actual geographical setting IS important in this play. What a brilliant critic he is. |
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117 posts
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Post by alexandra on Feb 14, 2016 15:50:34 GMT
 Yes he is, and I see he loved it. He's just wrong about this one point is all. Nobody's perfect. |
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Post by Deleted on Feb 14, 2016 16:49:41 GMT
Foe the benefit of any new readers, parsley does this all the time, if not totally adoring something claiming that it is the worst thing ever (to be swiftly followed by the next worst thing ever a week or two later). It should perhaps be noted that Robert Icke directed the critically lauded West End transfer of The Oresteia (also adapting), also the critically lauded West End transfer of 1984 now in the US and so on. The truism that reviews say more about the reviewer than what they review should give people pause, but so rarely does. If nothing else, if someone walks out of four productions in a row, they must make appalling choices. That truism doesn't seem to have given you any pause for thought because in the previous paragraph you have said the productions were "critically lauded" as if that somehow invalidates Parsley's criticism. It isn't the judgement of the reviewer that is the 'truism' but how they try and justify it. The latest first stringer on the Times for example who is trying desperately to be controversial (or Billington who manages to squeeze most things back to his politics (and Letts similarly, c.f his appropriation of Matilda as a battlecry for literacy!). Someone stating again and again about how they didn't stay for the second half and that succeeding productions (whatever they are) are the worst ever becomes the point, instead of the show itself. |
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Post by Jan on Feb 14, 2016 19:22:25 GMT
That truism doesn't seem to have given you any pause for thought because in the previous paragraph you have said the productions were "critically lauded" as if that somehow invalidates Parsley's criticism. It isn't the judgement of the reviewer that is the 'truism' but how they try and justify it. The latest first stringer on the Times for example who is trying desperately to be controversial (or Billington who manages to squeeze most things back to his politics (and Letts similarly, c.f his appropriation of Matilda as a battlecry for literacy!). Someone stating again and again about how they didn't stay for the second half and that succeeding productions (whatever they are) are the worst ever becomes the point, instead of the show itself. Yes but everyone says the same thing again and again here. What are you suggesting should happen ? Any expressionistic production you always say you like it, no difference really, both true and valid points. |
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117 posts
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Post by alexandra on Feb 14, 2016 19:33:22 GMT
Cardinal, the great thing is that Parsley won't be going to any more Icke productions, so he won't be ranting biliously on the Icke/Scott Hamlet.
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Post by Deleted on Feb 14, 2016 19:56:12 GMT
Hate to think how long Icke's "Hamlet" will be! Book a matinee and make no plans for that evening (or the following day)
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Post by Deleted on Feb 15, 2016 0:37:59 GMT
It isn't the judgement of the reviewer that is the 'truism' but how they try and justify it. The latest first stringer on the Times for example who is trying desperately to be controversial (or Billington who manages to squeeze most things back to his politics (and Letts similarly, c.f his appropriation of Matilda as a battlecry for literacy!). Someone stating again and again about how they didn't stay for the second half and that succeeding productions (whatever they are) are the worst ever becomes the point, instead of the show itself. Yes but everyone says the same thing again and again here. What are you suggesting should happen ? Any expressionistic production you always say you like it, no difference really, both true and valid points. Which is my point really, that unless you know someone and their tastes then reading their opinion is confusing at best. With parsley of this parish, if you don't know that they regularly say that something is 'the worst ever' then you'd think it meant more than it does. |
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Post by raiseitup on Feb 15, 2016 11:50:56 GMT
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Post by alexandra on Feb 15, 2016 11:58:42 GMT
Well either Ann Treneman (Times) is xanderl, or she's pinched his joke about Uncle Johnny sounding like a children's entertainer.
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2,389 posts
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Post by peggs on Feb 15, 2016 15:34:08 GMT
What's the running time for this now please? I can't see anything on the website but am assuming it's fairly set now it's opened.
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Post by Deleted on Feb 15, 2016 16:46:02 GMT
My "so you're coming to the Almeida soon" email just arrived, and reckons 3h20m. My "so you've visited the Almeida recently" survey is going to get one hell of an earful about this running time combined with the 7.30pm start.
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923 posts
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Post by Snciole on Feb 15, 2016 23:11:24 GMT
I loved this, what a mesmerising cast and in particular Paul Rhys-who I hadn't seen before. Very rare to have any actor that you just want to watch.
I am amazed nobody picked up in the Guardian interview Rhys appearing to lie about his age. He is claiming to be 47 but internet says he is 52!
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Post by Deleted on Feb 15, 2016 23:14:58 GMT
I loved this, what a mesmerising cast and in particular Paul Rhys-who I hadn't seen before. Very rare to have any actor that you just want to watch. I am amazed nobody picked up in the Guardian interview Rhys appearing to lie about his age. He is claiming to be 47 but internet says he is 52! Please He's not Beyonce He's ugly and no one cares about him Let alone his age |
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Yes he is, and I see he loved it. He's just wrong about this one point is all. Nobody's perfect.
