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Post by foxa on Mar 23, 2016 8:43:53 GMT
If interested, this is an interview with Denise Gough on Women's Hour this week: www.bbc.co.uk/programmes/b074149dA few slightly odd questions but interesting as well. |
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Post by Snciole on Mar 23, 2016 11:45:54 GMT
I wasn't blown away either but I mainly blame the Wyndham's balcony seats* as well as a quite poor script that really drags at times, that early group therapy scene went on forever,compared to the performances -I think the final scene with the parents should have seen those actors get nomination, but it felt to me like an actors' play dealing with issues that only actors understand and other common people's addictions were sidelined.
*Good seats but not good for plays that need intimacy.
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Post by Deleted on Mar 23, 2016 12:24:38 GMT
Yes, I agree that the concentration on actors' issues and especially the Chekhov sequences generally switched off my interest and made me feel that the play wasn't directed at me and was of very specific focus, which I'm sure was not the intention.
This surprised me because Lungs and Every Brilliant Thing are both so universal and open to almost everyone.
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Post by loopyjohn on Mar 23, 2016 13:00:59 GMT
I saw this at the NT last year and returned at the weekend for a second viewing in one of the £15 on stage seats. As everyone has said, those seats are amazing value with one small caveat - the first scene is played behind a scrim so you don't see an awful lot. Not sure if the main auditorium watch that scene without the scrim. I don't remember it being like that at the NT. Enjoyed Denise Gough's performance over again. She fully deserves the praise. But - seeing the play for a second time I was less blinded by the flashier Headlong antics and could concentrate more on the play. I have to agree with the dissenters - it has some strong scenes (especially the opening few scenes and much of Act 2) but the last half of Act 1 feels awfully flabby. I feel this would make a much stronger one act play.
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Post by couldileaveyou on Mar 24, 2016 18:12:10 GMT
I caught the matinee today and I absolutely loved it
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Post by showgirl on Mar 29, 2016 17:53:41 GMT
I do so agree re Barbara Marten: she was absolutely stunning and I couldn't wait to look up who it was who had played the roles of the doctor and mother. Where has she been all my theatregoing life and more to the point, why isn't she a household name or at least the theatrical equivalent?
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Post by boybooshka on Mar 29, 2016 19:28:25 GMT
I do so agree re Barbara Marten: she was absolutely stunning and I couldn't wait to look up who it was who had played the roles of the doctor and mother. Where has she been all my theatregoing life and more to the point, why isn't she a household name or at least the theatrical equivalent? She's a pretty familiar theatre face here oop North. Always good, saw her in a production of Who's Afraid of Virginia Woolf a few years back, great performance. |
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Post by Deleted on Mar 29, 2016 21:34:22 GMT
Pretty regular face at the Globe too, always a joy to see her.
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Post by quine on Mar 30, 2016 8:01:04 GMT
Saw Saturday's matinee. My socks are still on the theatre chandelier, and I staggered out. My goodness, the writing is accurate and uncompromising, the production stunning - I've never truly seen inside a diseased mind before. Even more interesting, though Gough is jaw-droppingly, droolingly outstanding... Barbara Marten is actually the best actor on the stage. Not just a character, a real person. So impressive. Oh, and I checked out those stage seats during the interval. The £15 row SA is the biggest bargain on the planet. If you are under 5ft 6 you'll squeeze into row SB, with the outermost seat having space for one leg to stretch. In SC and SD, 5ft 4 or less or else cramp. And don't go for the centre seats in SD, behind a wall. Down in the stalls, the centre seat in all rows gets a chair in the way. B16 peered through the hole in the chair a bit, so go a couple of seats off-centre. Sat in SB last night - what amazing value and pretty comfy. Enhanced by a view of Clive Owen in the audience - swoon. |
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Post by lolli on Apr 6, 2016 21:49:04 GMT
Everyone should see this, book as fast as possible. Simply extraordinary. More like this in the west end please
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Post by Mr Wallacio on Apr 7, 2016 7:15:30 GMT
I'm here in the queue, number 2
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Post by boybooshka on Apr 7, 2016 7:56:25 GMT
I'm here in the queue, number 2 Was planning to day seat today too, how many are there now?  |
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Post by Mr Wallacio on Apr 7, 2016 8:32:27 GMT
I'm here in the queue, number 2 Was planning to day seat today too, how many are there now?
20 now at 9:30am.
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Post by boybooshka on Apr 7, 2016 8:40:52 GMT
Thanks. Grr guess I need to make alternative plans. Far too slow getting up this morning.
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Post by Mr Wallacio on Apr 7, 2016 11:54:45 GMT
Thanks. Grr guess I need to make alternative plans. Far too slow getting up this morning. It only started getting pretty busy by about 8:45. There were issues with the theatre 'system' though today and they could only take cash payments and give ticket collection receipts for later in the day. Not an issue for buying front row dayseats, but I saw yesterday that someone was offered row J in stalls at dayseat price, so it seems the theatre may do best available after selling all of front row, however that wouldn't work this morning if they can't get online to see what is actually on sale. I feel a bit sorry for the people further down the line if they missed out on seats due to the technology glitch. |
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Post by andrew on Apr 7, 2016 19:19:28 GMT
Thanks. Grr guess I need to make alternative plans. Far too slow getting up this morning. It only started getting pretty busy by about 8:45. There were issues with the theatre 'system' though today and they could only take cash payments and give ticket collection receipts for later in the day. Not an issue for buying front row dayseats, but I saw yesterday that someone was offered row J in stalls at dayseat price, so it seems the theatre may do best available after selling all of front row, however that wouldn't work this morning if they can't get online to see what is actually on sale. I feel a bit sorry for the people further down the line if they missed out on seats due to the technology glitch. Suffered at the hands of this, couldn't get a seat to the evening performance today so settled for day seats at the matinee. Was fifteenth in the queue just after 9.00, I'd say about another 15-20 behind me at box office opening. Was in A20 and A21 (front row furthest left) and they were fantastic seats, nothing missed, apart from feet. The show itself didn't disappoint on any level. To compare to another contemporary play in the same genre, you could pick any 5 minutes of PP&T and it would say more about addiction than the entirety of The End Of Longing. Denise Gough deserves every bit of her Olivier, if only for the sheer endurance of being onstage, having a 2hr 30m breakdown every night. The rest of the cast were great as well. Set, sound, lighting etc equally brilliant. This has got to be one of the few plays that lived up to the hype. Loved it. |
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Post by Mr Wallacio on Apr 7, 2016 21:37:36 GMT
It only started getting pretty busy by about 8:45. There were issues with the theatre 'system' though today and they could only take cash payments and give ticket collection receipts for later in the day. Not an issue for buying front row dayseats, but I saw yesterday that someone was offered row J in stalls at dayseat price, so it seems the theatre may do best available after selling all of front row, however that wouldn't work this morning if they can't get online to see what is actually on sale. I feel a bit sorry for the people further down the line if they missed out on seats due to the technology glitch. Suffered at the hands of this, couldn't get a seat to the evening performance today so settled for day seats at the matinee. Was fifteenth in the queue just after 9.00, I'd say about another 15-20 behind me at box office opening. Was in A20 and A21 (front row furthest left) and they were fantastic seats, nothing missed, apart from feet. The show itself didn't disappoint on any level. To compare to another contemporary play in the same genre, you could pick any 5 minutes of PP&T and it would say more about addiction than the entirety of The End Of Longing. Denise Gough deserves every bit of her Olivier, if only for the sheer endurance of being onstage, having a 2hr 30m breakdown every night. The rest of the cast were great as well. Set, sound, lighting etc equally brilliant. This has got to be one of the few plays that lived up to the hype. Loved it. You won't like me saying then that the people in those seats for the evening didn't turn up. Wholeheartedly agree that Denise earned her Olivier. An absolutely storming intense performance. Not sure I liked looking at the audience on stage though, some eye candy distracted my gaze a few times. |
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Post by Deleted on Apr 8, 2016 6:32:30 GMT
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Post by JJShaw on Apr 8, 2016 9:01:19 GMT
saw this yesterday and completely agree with everything everyone has already said; a fantastic play that still has me reeling over it! Denise Gough is brilliant and surely has turned into an overnight sensation with this role.
I was sat in the grand circle in the £15 seats and have no complaints over the view for that price, i would suggest getting row C and D low number ones as there is less obstruction the further back you are, and for a handful of moments a few characters sit down in the obstructed corner whereas Denise goes over to the other side of the stage, again only a few times for a moment or so. Not sure what the balcony view is like, but both Balcony and GC were pretty much full.
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Post by andrew on Apr 8, 2016 20:47:34 GMT
Not sure I liked looking at the audience on stage though, some eye candy distracted my gaze a few times. It's somehow more distracting than 'in the round' productions for the fact that they're all staring straight at you. Fortunately for my attention levels they were mostly all old women as opposed to young men. |
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Post by Mr Wallacio on Apr 8, 2016 20:52:01 GMT
Not sure I liked looking at the audience on stage though, some eye candy distracted my gaze a few times. It's somehow more distracting than 'in the round' productions for the fact that they're all staring straight at you. Fortunately for my attention levels they were mostly all old women as opposed to young men. Two shows yesterday of looking at extra audience as saw the matinee of The Maids, though with that the staging and lighting made them less obvious than PP&Ts |
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Post by peggs on Apr 8, 2016 22:51:56 GMT
I have a stage seat to this, should I double brush my teeth then and make sure i'm wearing ironed clothes on that day?
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Post by Deleted on Apr 8, 2016 23:01:03 GMT
Despite all the (well deserved) recognition for the lead actress
This show is struggling to sell tickets
Likely due to a reluctance to discount
But there is hardly a dent in the stalls and dress circle seating even for Saturday shows
Is this the state of WE theatre at the moment
I know it takes a while for the lay public to react after awards and reviews
But along with this even Les Blancs at the NT is far from selling out (and that is Travelex) and Ma Rainey although faring better still has availability for what was a limited run
It's a shame that other crappy shows enjoy continued success without good reason
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Post by Deleted on Apr 8, 2016 23:01:42 GMT
And it should be full. It's a brilliant play, with an unforgettable lead performance . Worth seeing anyway but especially from a £15 stage seat, as not only are these an amazing price for any West End theatre (cheaper than most day seats but of course bookable in advance), but you probably get the best view in the house, as the front row is actually at stage level, whereas the stalls of course are below it and all the other areas at some remove. A bonus is being able to see and observe the rest of the audience - I was surprised to note how full the house was, not only in the stalls and dress circle, as you might expect, but also the upper circle and even the balcony. You are rather exposed to the public gaze in a stage seat, so I was worried about nodding off, but think I managed not to. It really is NOT full And the decision not to discount £69.50 seats is arrogant beyond belief Particularly when I have been offered free tickets twice this week already Again another example of stupid producers not getting context and shows This play is not mainstream and is never going to capture a wide target audience A return to the Dorfman would have made way more sense |
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Post by Snciole on Apr 8, 2016 23:34:54 GMT
Where are you being offered comps, Parsley? Aren't you in the industry? Just because a show isn't selling out large theatres, doesn't mean it isn't selling.
As a standard theatre attendee who buys her own tickets I have seen no such comps on the usual sites-particularly in comparison to other WE shows.
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