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Post by Jan on Jun 13, 2018 20:01:08 GMT
This sounds like total Pseud's Corner ramped up to the max. . Norris’ programming philosophy in a nutshell. I’ve thought for ages that he prefers to programme only stuff that he and his social circle will like, hence his programming is in practice very narrow. For example he won’t put on Miss Julie unless it is adapted to include present day educated metropolitan middle-class cocaine users. I am 100% OK with him programming this Katie Mitchell effort incidentally, I’ve admired some of her work, albeit quite a long time ago. |
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Post by sf on Jun 13, 2018 20:23:56 GMT
On the one hand, Cate Blanchett.
On the other, Martin Crimp.
Difficult call.
(I can imagine myself hoping to be given a really high number in the ticketing queue, so that by the time I got into the booking system the decision will have been taken out of my hands.)
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Post by foxa on Jun 13, 2018 22:01:28 GMT
I still shudder when I think of the A level group I took to see Crimp's 'Cruel and Tender' at the Young Vic. That was grim to the max.
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Post by partytentdown on Jun 13, 2018 22:12:34 GMT
Parsley
is
going to
hate
this
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Post by sf on Jun 13, 2018 22:42:42 GMT
I still shudder when I think of the A level group I took to see Crimp's 'Cruel and Tender' at the Young Vic. That was grim to the max.
For an undergraduate course, I had to go and see the Royal Court production of 'The Treatment'.
Oh, the horror. The horror.
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Post by Phantom of London on Jun 13, 2018 23:48:24 GMT
Did the title mean they HAD to put it in their smallest theatre? At least the Nash has been consistent in putting new plays into the Dorfman, they could easily cashed in their chips and stuck it in the Olivier. What happened to the project Cate was doing with Sonia Friedman? |
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Post by Jan on Jun 14, 2018 5:38:03 GMT
Did the title mean they HAD to put it in their smallest theatre? At least the Nash has been consistent in putting new plays into the Dorfman, they could easily cashed in their chips and stuck it in the Olivier. That's not true though, some of their biggest new play disasters have been in the Olivier (Saint George and the Dragon, Common, etc.). Their policy is they'll put new plays in any of the theatres but old plays are banned from the Dorfman. |
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Post by Someone in a tree on Jun 14, 2018 6:17:11 GMT
At least the Nash has been consistent in putting new plays into the Dorfman, they could easily cashed in their chips and stuck it in the Olivier. That's not true though, some of their biggest new play disasters have been in the Olivier (Saint George and the Dragon, Common, etc.). Their policy is they'll put new plays in any of the theatres but old plays are banned from the Dorfman. Such a shame as I imagine Three Sisters and the like would be excellent in a confined space (and seat!) |
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Post by popcultureboy on Jun 14, 2018 7:08:40 GMT
What happened to the project Cate was doing with Sonia Friedman? Would much prefer to see Blanchett in All About Eve which will probably be playing around the same time. I wonder what the story is about why she dropped out of that one. The project was All About Eve and as it will be playing around the same time, I imagine the "scheduling difficulties" reason given for Blanchett's withdrawal from AAE is the valid one. |
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Post by Rory on Jun 14, 2018 8:05:43 GMT
I thought her scheduling conflict was around the time when AAE was originally scheduled to play, around March this year. I'm sure if she'd really wanted to have done it, she'd have found a way to make it work, but hey that's just speculation on my part.
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Post by RedRose on Jun 14, 2018 8:27:50 GMT
I liked Crimp's adaption of The Misanthrope and the only time I have seen a play directed by Mitchel was Anatomy of a Suicide and I thinkt that was brilliant. I am sure it will be difficult to get tickets mainly because of Cate Blanchett. I want to see it but I would not by too sad if I missed it.
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Post by addictedtotheatre on Jun 15, 2018 9:54:42 GMT
With Crimp and Mitchell on board shouldn't this be titled 'When We Have Sufficiently Tortured The Audience'?
I'll give this a miss as I still remember excitedly going to see Miranda Richardson in a Wallace Shawn monstrosity a few years ago and just being really angry at the waste of her talents.
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Post by callum on Jun 15, 2018 19:19:45 GMT
I thought her scheduling conflict was around the time when AAE was originally scheduled to play, around March this year. I'm sure if she'd really wanted to have done it, she'd have found a way to make it work, but hey that's just speculation on my part. Perhaps. Though she might have preferred the fact that this play will presumably be playing in rep (i.e. not 8 performances a week for 12 weeks) whereas Eve wouldn't have. I know that during a month-long-gap for Network last year, Bryan Cranston was able to fly back to the U.S. and take care of his other commitments - maybe a similar structure will suit Cate's schedule better. She has a plum lead part in Richard Linklater's new film Where'd You Go Bernadette? in the autumn, so if she is lucky enough to be in awards contention then trips to LA and NYC for awards ceremonies and FYC events in Jan/Feb wouldn't be out of the question. |
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Post by Deleted on Jun 15, 2018 22:18:26 GMT
With Crimp and Mitchell on board shouldn't this be titled 'When We Have Sufficiently Tortured The Audience'? I'll give this a miss as I still remember excitedly going to see Miranda Richardson in a Wallace Shawn monstrosity a few years ago and just being really angry at the waste of her talents. Haha! I think I saw the Wallace Shawn play you are referring to. Wasn’t it narrated by a cat or something. My memory is hazy but I do think a cat was involved. |
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Post by Deleted on Jun 15, 2018 22:58:08 GMT
This sounds like the title of a Damien Hirst installation.
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Post by crowblack on Jun 16, 2018 11:31:33 GMT
This sounds like the title of a Damien Hirst installation. It really is an annoying title. I suppose we've had a slew of one word titles so they're going for something a bit 90s-retro to stand out. Not very hashtag-friendly for Twitter though. |
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Post by Rory on Jun 16, 2018 12:13:30 GMT
It may be a brilliant show but the title is pretentious and irritates me greatly!
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Post by Deleted on Jun 16, 2018 12:39:50 GMT
A good title attracts the people it needs to attract and repels those it needs to repel (the multitude of action films with variations on the same name completely turn me off, for example). A lot hedge their bets by trying to be intriguing but the ones that really are actively annoying are those that promise one thing and don’t deliver, especially if backed up by similarly misleading advertising. We’ll have to wait and see but this title seems a decent reflection of the source material and the people adapting it.
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Post by crowblack on Jun 16, 2018 12:52:35 GMT
Might be a good subject for a thread!
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Post by Jan on Jun 29, 2018 11:30:50 GMT
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Post by Someone in a tree on Jun 29, 2018 12:40:08 GMT
live cinema I guess that means a few people use cameras during the performance |
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Post by drmaplewood on Oct 3, 2018 10:02:28 GMT
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Post by Rory on Oct 3, 2018 10:48:10 GMT
Rufus says hopes of a further life for this. I would imagine securing Ms Blanchett's availability for a transfer could be an issue.
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Post by nash16 on Oct 3, 2018 11:17:00 GMT
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Post by jadnoop on Oct 3, 2018 11:49:56 GMT
Out of interest, why do you say this? I feel like, in instances where demand so massively outstrips supply like this or the recent Punchdrunk thing or the RADA Hiddlestone thing, having a ballot is the easiest way to give everyone a fair chance.
Don't get me wrong, it'll be frustrating to miss out, but it seems fair and at least I won't be sat for hours jumping between computers hitting refresh.
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