Albion at the Almeida

If it’s as sh*t

As doctor foster series 2

It’s going to be bad

I saw an enthusiastic blog review from someone who said she'd booked to see it again and take her family. So a marmite play? I was quite hopeful when I read the review, having only risked a £10 seat.

Wasn't Victoria Hamilton in A Month in the Country? And she was very good. I remember her twiddling her ankle....maybe that made the connection for you.

Wow. It's going to be a hit. And I'm already wishing it had a longer run.

Bartlett having a very obvious go at writing a Chekovian/Ayckbourn piece. For the most part it is very successful. And great fun to tick off who is playing the Konstantin, who the Masha, who the Arkadina, who the Firs, etc, etc. References to all C's big plays. Mainly The Seagull and Cherry Orchard.

Mikey is right: the second half cannot live up to the first half. It's not bad, it's just less active, and more two acts of resolutions. Act 4 is very much the last act of Cherry Orchard and Seagull.

There are some very funny lines and moments in it. And also some painfully moving moments too. The politics of Brexit and what England has become/is becoming aren't too forced, although there are some lines that clang about a bit and are a bit too obvious. The Polish maid is good, but again, a bit obvious.

I felt for nearly all of the characters. And he's given the actors such great parts, all off them.

Victoria Hamilton goes to town on her role and is equally hilarious and repugnant all at the same time at moments. But you always understand why. Helen Schlesinger is doing a wonderful Fiona Shaw impression with her body. The young actors are good (the daughter is a bit more "actory" than everyone else, but still fits the part).

The set is simple and they've stolen the tree from Jerusalem, obviously required now for any take on "England" in a play. It doesn't shake at the end though.

Anyone into potted plants, you're in for a treat come one of the scene changes. I found that moment quite moving actually as well as being uplifting.

It plays whole heartedly to it's Almeida audience as it's about a middle/upper class family. I think one of the cast is mixed race, the rest are all very white.

I already want to go back and see it again.

If anything to hear, as Foxa mentioned, Margot Leicester say "Hello" in the second half. So brilliant.

Book before Press next week, or you'll regret it.

Hi showgirl,

The layout is traverse, so a thrust stage, as shown on the website.  The stage is more like the Swan at the RSC if you've ever been up there.

The front two/three rows that run alongside it, you're looking up at the stage. There are one or two raised rows behind that.  

The main stalls is a lot smaller as a result.  

I'd say some of the best views, if not THE best views, are in these rows that run alongside the stage.  Everyone keeps moving for the most part, so you're never blocked, and it's great being so close.  

Mind you we were looking up at the Circle, especially the £10 "restricted view" slip seats, and thinking they'd be an absolute steal.

Have you got your tickets yet?  

Thank you, nash16. I do know the Swan and booked one of the £10 RV seats but in the stalls, and at the far end of one of the very long rows added/inserted for this play only. So I won't be far back from the stage as the rows are only 2 or 3 deep at that point, but I will still, in effect, be in one of the furthest corners. (Should've thought of that in case I needed to make a quick and discreet exit but from posts above, I probably won't wish to.)

Yesterday turned out to be Chekhov day even though I only saw one actual Chekhov, such days are always ones that I appreciate and this one turned out to be excellent. Another influence to add to the mix is Rattigan, although not name checked as a number of other British writers are (themes of writing abound, as well as that of gardens and the earth). Duty, generational schisms, dealing with the age old difficulty of being English, that sort of thing.

Excellent acting throughout, gorgeous set (I love a good stage tree) with scene changes beautifully delineating the Chekhovian four act structure, Bartlett cleverly underscoring the local with the national, the balance of arguments on differing sides, all make this a thoroughly satisfying and, at times, transcendent watch. Previews so no real spoilers and the second half isn't yet fully lived in but it's looking good already.

First act over an hour and a half, second act over an hour, so out after ten thirty. 

Almost!!  Haha!! It's a great game if you love your Chekhov to work out who is who in it.  

I'd love this to transfer. Perhaps not starry enough, though?

Perhaps not, but the combined brand of the Almeida / Goold / Bartlett, plus strong reviews, would likely ensure an audience if any staging obstacles can be overcome. If Sonia Friedman can take a punt on transferring something like The Nether, she might be favourably disposed to this, especially given that she's transferred other Gooldean shows like King Charles III and Ink.

Having read these reviews, I'd be amazed if this now doesn't transfer. Dominic Cavendish calls it "The play Britain needs right now". Say no more.

5* Independent
5* Telegraph

I think a transfer’s very likely.