369 posts
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Post by Jonnyboy on Mar 2, 2019 13:13:08 GMT
Planning to book for this and am looking at front row, which is described as limited legroom and viewing restrictions... can anyone who has been to the Kiln advise on how severe the legroom and view is from front row? Thanks in advance.
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Post by Deleted on Mar 2, 2019 19:19:24 GMT
Looks like you'd have to look up at the stage a bit but it's not high (unless you're 5 I guess). I think the risk is more if they put a large prop or piece of set in front of you. The legroom appears to be slightly less than the rows behind but you've still got somewhere to put your knees. If I were 6'5" I might be wary but as I'm not, I think the front row looks absolutely fine.
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Post by learfan on Mar 2, 2019 21:04:06 GMT
It's pretty horrible, I tried it for both plays I've seen there. The stage is high, and legroom is limited. I'm 5ft 7 and would have cramped up in the legs had I sat there. 5ft 5 at most (with young legs and hips) will be very comfortable. If they plinth the stage, you will look up sharply if you are that height, too. Any shorter and you really won't see the back of the stage that easily, I'd say. Go at least row D if you want some rake. Remember that B isn't elevated or off-set much behind A, and C isn't that high either. If thats true then what the eff were they doing during the two whole years the theatre was closed for rebuilding?! |
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Post by Deleted on Mar 2, 2019 22:23:14 GMT
Consulting on the rebrand, mainly
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369 posts
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Post by Jonnyboy on Mar 3, 2019 11:09:33 GMT
Thanks, folks. I’ve played it safe and gone for row D, mainly because my dad has legroom issues.
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Post by lightinthedarkness on Mar 8, 2019 11:31:12 GMT
Anyone seen this?
I'm considering it, certainly looks interesting! Does anyone know if the side circle seats are any good?
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Post by lightinthedarkness on Mar 8, 2019 16:34:39 GMT
Legroom up to about 5ft 5, and you miss the nearside corner of the stage. Angles are a bit better if you take seats towards the main block. If rear circle seats are the same price, I think that is safer. Lovely thanks - I'll aim for rear circle! |
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Post by NeilVHughes on Mar 8, 2019 22:21:13 GMT
An inevitability that keeps you gripped throughout, the gift from father to father is not the most subtle of plot devices but does provide an element of ambiguity as all men are sons.
A simple premise, excellently executed, not the easiest of evenings, concluding with an epilogue that hurts.
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1,250 posts
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Post by joem on Mar 8, 2019 22:29:06 GMT
Slick, well-written and entertaining, as one has come to expect from Zeller, and very well acted by a sober and professional cast. Perhaps not technically his most ambitious play but certainly interesting even if some of the premises are sometimes a bit obvious.
I am very interested in seeing what Zeller will do when/if he finally breaks out of the narrow family dramas he has done so well with.
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Post by Deleted on Mar 9, 2019 0:23:56 GMT
I am very interested in seeing what Zeller will do when/if he finally breaks out of the narrow family dramas he has done so well with. Tedious comedies about marital infidelity, so far. |
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1,250 posts
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Post by joem on Mar 9, 2019 0:30:46 GMT
I am very interested in seeing what Zeller will do when/if he finally breaks out of the narrow family dramas he has done so well with. Tedious comedies about marital infidelity, so far. Not for me, Clive. |
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Post by juicy_but_terribly_drab on Mar 9, 2019 16:49:16 GMT
Wasn't massively impressed with this to be honest which is disappointing because I really enjoyed The Father (and sadly somehow missed The Mother). I thought that John Light played it too theatrical for the text and in comparison to everyone else. I just never really believed him? Even at the end he seemed he had actually been crying as at the curtain call the Amaka Okafor seemed to be checking he was okay but I felt his reaction was too over the top. More shouting than weeping. Everyone else acted well but they felt more naturalistic (Anna less so) so that's why Light's acting felt jarring to me. Also as everyone else said it was quite predictable. I didn't dislike I guess I was just let down especially since The Father was quite creative with the confused chronology device whereas this was played straight so it needed to be stronger narratively.
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Post by Deleted on Mar 18, 2019 17:12:21 GMT
Well. It's a bit different to his other plays because he doesn't play around with the chronology like he normally does and goes for a rather conventional tale. There's not a lot of laughs but Laurie Kinston is very good as Nicolas and the piano is nice.
On the plus side, there was a fun bit where the nurse couldn't close the doors properly which lightened the mood and the foxy John Light wore some lovely snug trousers. He is definitely a fine piece of real estate and I think I'm gonna put me down a deposit.
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369 posts
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Post by Jonnyboy on Mar 21, 2019 22:52:58 GMT
Enjoyed this tonight and I predict great things for Laurie.
In the bar afterwards we heard someone with a French accent speaking to Imelda Staunton and Jim Carter (in the audience). Googled Florian Zeller and it was indeed him! I’m now the thrilled owner of a programme/playtext signed, dedicated and dated by Mr Zeller. What a way to end my theatrical holiday (the other three shows Come From Away, Follies and a return trip to Company). Back to Manchester tomorrow.
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Post by learfan on Mar 23, 2019 17:52:42 GMT
Was at today's matinee, surprisingly not full by any means. First time in theatre since the two year long refit. Play pretty good, not on a par with Father or Quiet of Storm but good. The lad playing the title role is amazing. Bit of drama near the beginning when a prop flew into the audience during the first "tantrum". Annoyingly they were doing programmes, just the text. Baffles me why they do that, in my experience a lot of people will buy a programme but not a great deal will be bothered with the text. Zeller is very prolific, wonder if he needs a rest and come back firing on all cylinders?
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Post by learfan on Mar 23, 2019 18:41:23 GMT
Annoyingly they were doing programmes, just the text Was it one of those programme / script things - a book containing the script, but with the programme biogs and credits at the front? I know they did that last time I was at the Kiln - same as the Royal Court and a few others do it. Yes, personally dont see the point im afraid. |
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Post by learfan on Mar 23, 2019 18:42:42 GMT
Was it one of those programme / script things - a book containing the script, but with the programme biogs and credits at the front? I know they did that last time I was at the Kiln - same as the Royal Court and a few others do it. Yes, personally dont see the point im afraid. Just twigged the typo in my original post! Should have read "weren't doing" |
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369 posts
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Post by Jonnyboy on Mar 23, 2019 22:55:18 GMT
Was at today's matinee, surprisingly not full by any means. First time in theatre since the two year long refit. Play pretty good, not on a par with Father or Quiet of Storm but good. The lad playing the title role is amazing. Bit of drama near the beginning when a prop flew into the audience during the first "tantrum". Annoyingly they were doing programmes, just the text. Baffles me why they do that, in my experience a lot of people will buy a programme but not a great deal will be bothered with the text. Zeller is very prolific, wonder if he needs a rest and come back firing on all cylinders? A book flew into the audience the night I saw it. I love getting a programme combined with the play text. It’s true I won’t always read the text but maybe it’s a sort of innate thing in me that makes me feel like I’m getting a bargain paying less than the RRP! |
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Post by itsabouttogdown on Mar 24, 2019 0:47:15 GMT
I'm seeing this next week hopefully, I sort of feel like Zeller peaked with The Father and perhaps nothing will ever top it?
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Post by juicy_but_terribly_drab on Mar 24, 2019 14:04:27 GMT
I'm seeing this next week hopefully, I sort of feel like Zeller peaked with The Father and perhaps nothing will ever top it? That's how I felt having seen this although, are his plays written in French because I do often wonder if maybe something is ever lost in translation? This just felt like a much more standard play that, while solid, did little new. |
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3,584 posts
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Post by Rory on May 6, 2019 7:32:13 GMT
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3,584 posts
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Post by Rory on May 8, 2019 7:06:25 GMT
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Post by Deleted on May 8, 2019 9:33:50 GMT
Ambitious pricing on this - after previews most of the stalls are £65 or £85 premiums, with the back two rows at £55. Royal Circle is all £55, £65 or £85, including some "restricted view" seats at £65! Some at £15 or £25 in the upper circle, either in the back row or restricted at the sides. Front row of stalls (AA) doesn't seem to be on sale so I guess day seats? Also the restricted view aisle seats in the stalls don't seem to be on sale. Similar to the initial pricing of Rosmerholm - theatreboard.co.uk/post/262031/threadWill be waiting for offers on this one. |
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Post by popcultureboy on May 10, 2019 8:48:50 GMT
Ambitious pricing on this Is it ambitious, or is it just standard West End pricing? I don't see anything about the pricing here to make me clutch at pearls about how high it is. |
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Post by Deleted on May 10, 2019 9:05:11 GMT
It's ambitious for a 90 minute four-hander with no particularly big names in the cast.
Although it does have the guy that played Danny Baker in "Cradle to Grave" so they could get some publicity out of that.
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