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Post by ThereWillBeSun on Aug 28, 2021 20:05:30 GMT
As a big Emma fan, I was looking forward to this immensely…. But I was bored stiff. All style over substance, and the substance there was, was dodgy. I didn’t care for any of the characters, and it ended up being a bit of a white savour narrative. Glad others enjoyed though! I am so confused and distanced by this. Been watching the live stream. Sandra Marvin is outstanding. Some amazing vocals too from others. But such a strange story. Hmmm.
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Post by londonpostie on Aug 28, 2021 20:40:25 GMT
Have you met the Amy Winehouse look-a-like yet?
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Post by cavocado on Aug 29, 2021 12:50:52 GMT
I'd decided against this one (because I didn't like Wise Children), but I had a meeting nearby yesterday, and was lured in by the £10 tickets.
From what I remember, the strength of the film was the emotional depth of the unlikely friendship between two strong women characters, and the bleak setting being a metaphor for their loneliness and abandonment. But here there was not much dialogue between the women, and what there was was banal, so it was hard to believe that a deep connection develops.
There was some great singing (especially Sal), but the same two songs were repeated several times as though they had a profound message, but they weren't strong enough songs to drive the plot or give us any insights into the characters beyond Brenda being lonely and Sal being a neglectful husband.
There were some awful caricatures, including the Russian woman rushing past shouting "glasnost, perestroika" - embarrassing stereotype or lazy way of signposting that the outside world was in the late 80s? I'd be interested to know what others made of her.
I know a lot of people love Emma Rice, so there's clearly something I just don't understand about her work. I was looking for something more complex and truthful behind the jokes and spectacle, but it didn't engage me at all. I wondered if others are excited by the eclectic plundering from film, musicals, panto, etc - whereas for me that made it a bewildering mish mash. She's strong on mise en scene, but I suppose I'm more interested in dialogue and characters than visuals, so maybe that's my problem. At least I won't need to shell out on tickets for Wuthering Heights next year.
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Post by londonpostie on Aug 29, 2021 16:49:13 GMT
It made no sense to me except as an observation on this unique - post-lockdown, re-opening, living with Covid - moment in time. If you think of some terms or adjectives that might apply - choose your own, obv: without conventional narrative inclusive optimistic chaotic random family strained family excluded, then returned etc. Perhaps it makes little conventional sense becasue little makes sense now except family (in both the immediate and broader senses) and our values. That's as far as i got with it
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426 posts
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Post by dlevi on Aug 30, 2021 9:36:02 GMT
I caught this on Saturday and found it dull and charmless.It worked hard to be endearing but instead it all felt hollow. Emotional connections between characters were non-existent until one moment later in the show when everyone was quietly enjoying themselves in the German woman's room. But that also proved to be the only genuine moment in the show. The show played more like an idea for a musical version of "Bagdad Cafe" rather than actually being one. And why are we being asked to find insipid limp choreography charming or acceptable in a professional environment. The show failed to deliver on any level and the lack of laughs or applause throughout the show was a clear indicator of how bored we all were. Only the video post-curtain call was able to stir any emotion from the audience.
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Post by cavocado on Aug 30, 2021 10:11:03 GMT
It made no sense to me except as an observation on this unique - post-lockdown, re-opening, living with Covid - moment in time. If you think of some terms or adjectives that might apply This does make some sense, and I think you're a better person than me to read all this into it. But if it's a response to Covid, it should also be easy to enjoy, not bewildering! I agree with dlevi about the scene in Jasmin's room - that was the only time I felt any warmth, but it also highlighted how little connection there was between Jasmin and Brenda, which should have been the core of the show. I also agree with dlevi about the choreography, and with whoever mentioned a few messages back about the opening 10 mins or so with the mime and puppets and the poncho'd person waving around a ball of tumbleweed - all felt a bit self-indulgent and lacking in slickness. What did people feel about the gauche caricatures - ponchos, boomerangs, lederhosen, angry 'perestroika' woman? I can't remember if this kind of things was in the film, but it was 30+ years ago and times have changed. The more I think about that aspect the more I feel uncomfortable - it just seems dehumanising to stereotype people like that, even if it's meant to be taken in a humourous or ironic way.
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Post by sfsusan on Aug 30, 2021 20:53:17 GMT
From what I remember, the strength of the film was the emotional depth of the unlikely friendship between two strong women characters, and the bleak setting being a metaphor for their loneliness and abandonment. But here there was not much dialogue between the women, and what there was was banal, so it was hard to believe that a deep connection develops. Well said!
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