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Post by bordeaux on Aug 2, 2018 9:40:52 GMT
Just been browsing on the Toneelgroep website and have noticed that this is coming to the Barbican early next March. It won various awards in Holland when premiered in 2015. Its updating is inspired by a 1990s killing in the USA. tga.nl/en/productions/medeaWill it be only the second Simon Stone thing we've seen in the UK apart from the Billie Piper Yerma? I'm also intrigued by the sound of his Ibsen play and Husbands and Wives both also done with Toneelgroep. Ivo van Hove fans might note that his production of Janacek's song cycle, Diary of the One who Disappeared is coming to the Royal Opera House next June. I'm looking forward to a big Barbican announcement soon as I still have £250 worth of vouchers to spend after returning my Obsession tickets last year... |
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Post by Deleted on Aug 2, 2018 9:46:36 GMT
Sounds good! Must be a Barbican announcement on the way. On occasion I've dealt with expiring credit vouchers by booking something else to return in a few months  Simon Stone's "The Wild Duck" also played at the Barbican. |
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Post by Deleted on Aug 2, 2018 9:54:56 GMT
Marieke Heebink? I'm in! Shame Robert Icke's Oedipus doesn't seem to be coming too...
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902 posts
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Post by bordeaux on Aug 2, 2018 10:02:01 GMT
Marieke Heebink? I'm in! Shame Robert Icke's Oedipus doesn't seem to be coming too... The good thing is these productions remain in the repertory for years so there's always 2020 or 2021... |
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Post by Deleted on Aug 2, 2018 10:05:00 GMT
Yeah, but I could very easily be dead by then. Or the government might have messed up the Brexit thing SO egregiously that it's no longer worth anyone's time bringing plays from Amsterdam to London.  |
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Post by Deleted on Aug 2, 2018 10:24:03 GMT
Yeah, but I could very easily be dead by then. Or the government might have messed up the Brexit thing SO egregiously that it's no longer worth anyone's time bringing plays from Amsterdam to London. Don’t forget that, if you can get to Amsterdam, they surtitle productions in English at certain performances. Not good for those on a budget but Brexit was always designed to screw the poor whilst the well off will do just fine (and a small number will really coin it). |
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902 posts
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Post by bordeaux on Aug 2, 2018 10:25:33 GMT
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Post by learfan on Aug 2, 2018 10:53:46 GMT
Saw this a few weeks ago, sounds v interesting. Hopefully it comes here as i cant get to Paris. |
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Post by jadnoop on Aug 2, 2018 18:55:43 GMT
Exciting! Barbican seem somewhat inconsistent in announcing and selling tickets for shows, but fingers crossed this and Kafka On The Shore are put onto the site soon.
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562 posts
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Post by jadnoop on Oct 11, 2018 10:11:01 GMT
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Post by Deleted on Oct 11, 2018 10:12:48 GMT
Internationaal Theater Amsterdam, eh? That's an interesting name change, I wonder what it bodes for the company?
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Post by crazyscientist on Oct 11, 2018 14:58:59 GMT
Internationaal Theater Amsterdam, eh? That's an interesting name change, I wonder what it bodes for the company? They changed the name because Toneelgroep Amsterdam and Stadsschouwburg Amsterdam (Amsterdam's city theatre, TGA's home base) merged into one organisation. Not sure what to think of the name change though. TGA is now called ITA-ensemble on social media...  |
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Post by juicy_but_terribly_drab on Mar 3, 2019 14:43:25 GMT
Any chance this might extend or transfer because I only just found out about it and have a 2 show day on the 9th which would be the only day I could see it.
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Post by bordeaux on Mar 3, 2019 20:42:55 GMT
Any chance this might extend or transfer because I only just found out about it and have a 2 show day on the 9th which would be the only day I could see it. Wouldn't have thought so as it is visiting from Amsterdam. It doesn't seem to have any more performances this year in Amsterdam but may well come back next. Thursdays they have surtitles. I'm looking forward to hearing what the Barbican brings over from there next. The Simon McBurney Cherry Orchard must be a distinct possibility. |
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Post by juicy_but_terribly_drab on Mar 3, 2019 21:10:20 GMT
Any chance this might extend or transfer because I only just found out about it and have a 2 show day on the 9th which would be the only day I could see it. Wouldn't have thought so as it is visiting from Amsterdam. It doesn't seem to have any more performances this year in Amsterdam but may well come back next. Thursdays they have surtitles. I'm looking forward to hearing what the Barbican brings over from there next. The Simon McBurney Cherry Orchard must be a distinct possibility. Thanks and luckily I decided to move up my coach on Friday and booked for that evening. |
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Post by Deleted on Mar 4, 2019 8:04:37 GMT
This isn't selling well and there's been some downwards dynamic pricing - eg some of the central rear stalls seats are now £16 or £25, they were originally £40 I think.
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873 posts
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Post by juicy_but_terribly_drab on Mar 4, 2019 9:05:07 GMT
This isn't selling well and there's been some downwards dynamic pricing - eg some of the central rear stalls seats are now £16 or £25, they were originally £40 I think. I thought there'd be more hype around it after Yerma but I had no any idea it was on and only saw it while flicking through TodayTix out of boredom. I guess it hasn't been marketed well enough. |
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Post by Deleted on Mar 4, 2019 9:15:42 GMT
Wonder if this means a seat upgrade? I hope not, I like the seat I've chosen because not only is it cheap, it's the best seat in the house for a speedy getaway...
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Post by Deleted on Mar 4, 2019 9:20:59 GMT
They seem to have closed the upper circle so if you are there, probably yes.
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Post by altamont on Mar 6, 2019 22:03:02 GMT
75 minutes of exceptional drama - and a towering performance from Marieke Heebink. Go see it if you get the chance
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Post by NeilVHughes on Mar 6, 2019 22:11:25 GMT
Agree with altamontAmazing the depth simple staging can achieve when the central performances are this good. Always find that after a few minutes surtitles add to the experience, the simultaneous reading and watching and the concentration required really pulls you in. |
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Post by Steve on Mar 7, 2019 11:20:48 GMT
Yes. Thirded. Don't miss! Some spoilers follow. . . In Simon Stone's versions of "Yerma" and "The Wild Duck," he got all forensic, putting the characters behind glass, so that we could peer in to these dysfunctional closed worlds and study the characters like scientists, at a remove. Here, an open minimalist whiteness and abstract staging turns the stage into a mindscape for Medea, a more intimate invite for us to experience her mental illness from the inside, with a laser focus on her point of view bolstered by huge facial close-ups, internal and external monologues, and a soundtrack that reflects the blank numbness of taking pills. Her problems are reactive as well as clinical, as, at the opening, she has already been dumped for a younger model, and her access to her kids is controlled by her husband who has custody. . . Marieke Heebink's performance of Medea is easily one of the best of the year by anybody, with such nuance moment to moment, that by the time this ends, we have a crushing and revelatory identification with the tragedy of this story. The only time I was slightly thrown out of this show's hypnotic grip was when the numbing background track was turned off to allow Medea to give full vent to a melodrama of dramatic backstory that felt overdone, given the heretofore laser focus on believable moment-to-moment character interaction and development, with children, husband and her replacement in her husband's affections. The show transcends this melodramatic hiccup to conclude with devastating profundity. This show, for me, is easily as good as Stone's Yerma, and because the hell is experienced from the inside, it's more moving. Absolutely brilliant, and the great thing is there are still tickets. 5 stars. |
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Post by NeilVHughes on Mar 7, 2019 12:22:07 GMT
The Guardian 5 Stars
“The staging is brutal, leaving the performers nowhere to hide. They don’t need it: this flawless ensemble have created a raw masterpiece”
The Stage 5 Stars
“Electrifying reimagining of Euripides by hot-shot director Simon Stone”
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Post by jamesxxx on Mar 7, 2019 22:04:37 GMT
Two words.........GO SEE.
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Post by asfound on Mar 8, 2019 10:57:52 GMT
Pretty much agree with everyone else on this, phenomenal. The second production of Medea I've seen the last couple of weeks - I thought Medea Electronica at Pleasance was great but this was on a level.
I especially loved the way the ash started to ominously fall halfway through. Even though everybody knows the ending, the significance of it really hits hard once you get there. What really set it apart I feel was the contrast of modern and somewhat typical family life, the way the sons and the Glauce and Creon characters feel fully fleshed out and real, and the inevitable downward spiral. It took fantastical characters and an extreme set of events and placed them in a world that felt believable. As such it was so much more disturbing than more gory, violent versions.
I don't know much about how common this is, but I also thinks it's fantastic the way the Barbican puts on these international, subtitled productions. I really liked the French version of Pericles and am looking forward to The Damned. There's a lot about living in London that gets me down but when I can hop on a train and in 25 minutes be seeing something like this it kind of makes it worthwhile.
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