471 posts
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Post by mistressjojo on Mar 19, 2018 1:51:23 GMT
But anyway, upon reading the program, guess what TV show is not included in his credits...  That’s going to crush a few Whovian shaped hearts, sobbing into their DWM they’ve brought trying to get signed, ‘he does not love us anymore’ I can hear them whaling  Yes, I can picture the scene at the stage door now: OTT DW fan with DWM: You were my favourite Doctor!!! Christopher Eccleston: Doctor who? I know this would be amusing, but sorry to tell you, it really wouldn't happen. We all know the Doctors don't acknowledge DW stuff at the stage door, and if anyone was going to buck that trend it wouldn't be C.E ! |
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409 posts
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Post by maggiem on Mar 19, 2018 9:46:59 GMT
Cinema broadcast on 11th April Definitely going to this broadcast. I also have a restricted view stalls ticket for June. As it's Macbeth and the running time isn't 3 hours plus, I can do this trip. Sadly, I don't know how many more times I will be able to get to SuA in future. Just after I booked my theatre ticket I found out that National Express service 570 won't be picking up at my local bus station anymore. That made it quite easy to get down to Birmingham and transfer to the local train. I can get the train from Wigan now but it means a longer bus ride first and last thing. My biggest problem is that with the longer productions it would be bloody tight timewise to get the train back to Birmingham after the Saturday matinee. Live from the RSC will make up for some of the productions but not allow me to see much of the Swan repertoire. Rats! |
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108 posts
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Post by bob2010 on Mar 19, 2018 14:11:54 GMT
Looked to book again only an understudy performance left on the 29th March, only £10, todays train refund will cover the travel costs, will give it a go to see how much a production depends on its leads and get some background on how a production is developed. Now will definitely be booking for the Barbican. I set myself up with an alert using the Chrome extension - Auto Refresh Plus. Just went off and managed to grab tickets in row B of the circle for later this week! |
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Post by Deleted on Mar 21, 2018 0:00:12 GMT
“Though some elements of Findlay’s production feel derivative – the digital countdown has by now become something of a tired device – and its creepiness never translates to something genuinely unsettling, it’s still vastly more entertaining than the National Theatre’s recent dodgy dystopian staging”
I am sure every review is going to reference
And mock
The NT version
The above is from The Stage
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Post by Deleted on Mar 21, 2018 0:03:01 GMT
Four stars from The stage
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904 posts
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Post by lonlad on Mar 21, 2018 0:40:05 GMT
Libby Purves's pan: theatrecat.com/and pretty much sums it up. This production is in some ways a lot worse than the NT one and in other ways startlingly better, but neither one is very good. Cusack might be OK if she would calm down for even a nanosecond. Eccleston doesn't really get to grips with the language in any way whatsoever and just speaks it as if by rote. Oh well. Let's move on to another Sspeare play, please? |
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Post by Deleted on Mar 21, 2018 0:42:55 GMT
Libby Purves's pan: theatrecat.com/and pretty much sums it up. This production is in some ways a lot worse than the NT one and in other ways startlingly better, but neither one is very good. Cusack might be OK if she would calm down for even a nanosecond. Eccleston doesn't really get to grips with the language in any way whatsoever and just speaks it as if by rote. Oh well. Let's move on to another Sspeare play, please? It’s not really a pan One star is a pan |
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904 posts
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Post by lonlad on Mar 21, 2018 1:13:04 GMT
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374 posts
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Post by popcultureboy on Mar 21, 2018 8:13:32 GMT
Ann Treneman likes so little of what she sees, that I often find myself wondering why she bothers to be a theatre critic. Maybe it's Parsley's day job?
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108 posts
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Post by bob2010 on Mar 21, 2018 9:10:36 GMT
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904 posts
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Post by lonlad on Mar 21, 2018 10:25:12 GMT
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Post by Deleted on Mar 21, 2018 11:03:32 GMT
4 stars from the ES
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404 posts
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Post by altamont on Mar 21, 2018 11:07:13 GMT
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Post by Deleted on Mar 21, 2018 11:11:51 GMT
“Polly Findlay’s RSC version is much superior to the visually ugly one at the National, and boasts a strong cast headed by Christopher Eccleston and Niamh Cusack.”
From Billington
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108 posts
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Post by bob2010 on Mar 21, 2018 12:25:05 GMT
Quite a few seats have popped up this week... I wonder whether it's due to the mixed reviews
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Post by Deleted on Mar 21, 2018 14:09:32 GMT
Four stars ES
Four stars The Stage
Three and half stars Reviews Hub
Three stars FT
Three stars Guardian
Three stars Independent
Two stars WOS
Two stars Times
Metro
Time out
Telegraph
Awaited
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294 posts
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Post by dani on Mar 21, 2018 16:16:27 GMT
If you're awaiting a Time Out review, you may not want to hold your breath. They don't review Stratford, or at least not the one that's upon Avon.
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108 posts
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Post by bob2010 on Mar 21, 2018 17:17:42 GMT
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Post by Deleted on Mar 21, 2018 18:43:04 GMT
It’s such a tricky play to make work for a contemporary audience that it makes me wonder why it’s done so much. Two elemsnts that are needed are a brutal world and a belief in the supernatural, if you make it too abstract then those are lost. Set it in Jacobean times and it risks being about them, not us. Changing time periods is rarely enough, same with locations.
The Out of Joint version was the last production I saw that had it perfectly, although Goold’s came close. Voodoo ceremonies, gun toting soldiers high on god knows what, children caught up in kidnappings and worse. it was sickening and truly dangerous in its semi immersive staging.
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Post by oxfordsimon on Mar 21, 2018 20:06:48 GMT
One of the more successful versions I saw was by Oxford Shakespeare Company with an all-male ensemble. They took it out of time - not post-apocalyptic, not period, not Scottish. The costumes were vaguely animalistic (use of skins etc) - with voodoo-like elements for the witches.
Paul Dinnen was a bald Lady M and was utterly convincing throughout. However his noble thane was not quite so settled in the role.
That seems to be the problem with the piece. You can get some elements right - but not all.
I know how I want to tackle it. It will be a promenade production starting late at night on Port Meadow here in Oxford. The audience will be lead from site to site - lit by flaming torches. The witches will be seen emerging from the earth. The whole thing will be about the elements of earth, air, water and fire. I imagine a large fire pit, shadows being cast against the trees. I want to unsettle the audience throughout. The only reason I haven't pushed ahead with it as a project is that I have not met an actor I want to work with in the title role. I have seen those who are the troubled nobleman, those who are the battle-hardened veteran, those who are tragic. I have never seen anyone live who can combine all of the necessary elements - and have real sexual energy with his Lady. A good Macbeth does not guarantee a good production. But you can never have a successful production if the central casting isn't spot on.
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Post by Deleted on Mar 21, 2018 21:08:28 GMT
“Though some elements of Findlay’s production feel derivative – the digital countdown has by now become something of a tired device – and its creepiness never translates to something genuinely unsettling, it’s still vastly more entertaining than the National Theatre’s recent dodgy dystopian staging” I am sure every review is going to reference And mock The NT version The above is from The Stage Come on now. This is getting a bit ugly - and excessive. I'm sure regular readers will all recognise you are a big Rufus Norris detractor, so going on and on about does you few favours. |
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Post by Deleted on Mar 21, 2018 22:03:15 GMT
“Though some elements of Findlay’s production feel derivative – the digital countdown has by now become something of a tired device – and its creepiness never translates to something genuinely unsettling, it’s still vastly more entertaining than the National Theatre’s recent dodgy dystopian staging” I am sure every review is going to reference And mock The NT version The above is from The Stage Come on now. This is getting a bit ugly - and excessive. I'm sure regular readers will all recognise you are a big Rufus Norris detractor, so going on and on about does you few favours. The reviews of the RSC staging from The Stage And Guardian Directly mention the NT Macbeth I am only quoting |
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562 posts
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Post by jadnoop on Mar 21, 2018 22:47:40 GMT
“Though some elements of Findlay’s production feel derivative – the digital countdown has by now become something of a tired device – and its creepiness never translates to something genuinely unsettling, it’s still vastly more entertaining than the National Theatre’s recent dodgy dystopian staging” I am sure every review is going to reference And mock The NT version The above is from The Stage Come on now. This is getting a bit ugly - and excessive. I'm sure regular readers will all recognise you are a big Rufus Norris detractor, so going on and on about does you few favours. Completely agree. The board can be more harsh towards Rufus Norris than other creators, which is fine, but there's more than a smidge of glee in some of the discussions about NT Macbeth's poor reviews. I wonder if some of the commenters have issues with Norris as a person, rather than his work. |
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2,496 posts
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Post by zahidf on Mar 21, 2018 23:20:38 GMT
Do they have 10 pound front row for this at the barbican?
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Post by Deleted on Mar 21, 2018 23:25:31 GMT
Do they have 10 pound front row for this at the barbican? Yes |
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