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Post by londonpostie on May 4, 2023 17:33:56 GMT
Fwiw, it seemed to me the great problem for the sisters was their only brother was a man of the cloth. Men, brothers, would be far more inclined to leave the rural home for either an industrialed city or the New World (for manual work), but at least they would develop the means to later bring over other family members, perhaps even introducing sisters to their male workmates. This was a familiar pattern, though not one available when your brother is a priest gone native in Uganda. Of course, two sisters did leave for London and failed to establish themselves - the lowest of low pay (cleaning), one at least falling into alcoholism and destitution. From what I have seen this started to change after WW2 when it became far more acceptable for single Irish women to leave rural communities for, certainly, London. In fact, I once lived in a Guinness Trust block of 120 bedsit/studios in Brixton, built in the 1950's specifically for single Irish women who would, by then, migrate to work in offices as well as factories (new freedoms following from contributions to the war effort in wartime factories). Guinness initially built the bedsits without kitchens as the preference then was to foster communal meal times downstairs in the purpose-built hall. There was even a doctor's practice built as part of the estate. That was 20+ years after the time of this play.
The unseen hold of the Catholic church was everywhere.
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Post by Jon on May 4, 2023 18:20:03 GMT
Fwiw, it seemed to me the great problem for the sisters was their only brother was a man of the cloth. Men, brothers, would be far more inclined to leave the rural home for either an industrialed city or the New World (for manual work), but at least they would develop the means to later bring over other family members, perhaps even introducing sisters to their male workmates. This was a familiar pattern, though not one available when your brother is a priest gone native in Uganda. Of course, two sisters did leave for London and failed to establish themselves - the lowest of low pay (cleaning), one at least falling into alcoholism and destitution. From what I have seen this started to change after WW2 when it became far more acceptable for single Irish women to leave rural communities for, certainly, London. In fact, I once lived in a Guinness Trust block of 120 bedsit/studios in Brixton, built in the 1950's specifically for single Irish women who would, by then, migrate to work in offices as well as factories (new freedoms following from contributions to the war effort in wartime factories). Guinness initially built the bedsits without kitchens as the preference then was to foster communal meal times downstairs in the purpose-built hall. There was even a doctor's practice built as part of the estate. That was 20+ years after the time of this play.
The unseen hold of the Catholic church was everywhere.
See I thought Aggie and Rose's sad outcome was realistic and also that's what happen to Brian Friel's Aunts in real life.
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Post by londonpostie on May 4, 2023 22:14:45 GMT
I thought to use this play as an introduction to ChatGPT AI. This is the conversation I had - responses were almost immediate. Nothing here seems to have come from, for example, the Wiki entry. Welcome to our new overlords >> SPOILERS BELOW
Fwiw, the breadth of knowledge is surely hugely impressive. But there is not (yet) depth or insight. Some of it looks a little *off* to me but I imagine others feel it's valid.
No hype: Chatbox AI is the next revolution. Put limbs on these machine learning algorithms and we're in trouble.
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Post by londonpostie on May 4, 2023 22:37:25 GMT
After about 10-minutes, I asked it to regenerate the final response. It had already learned or, maybe with time to assess, matured:
That is .. quite something. It's not entirely correct but .. is it speculating? Feels more like over-reaching. Hmm.
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Post by sweets7 on May 5, 2023 6:09:29 GMT
Fwiw, it seemed to me the great problem for the sisters was their only brother was a man of the cloth. Men, brothers, would be far more inclined to leave the rural home for either an industrialed city or the New World (for manual work), but at least they would develop the means to later bring over other family members, perhaps even introducing sisters to their male workmates. This was a familiar pattern, though not one available when your brother is a priest gone native in Uganda. Of course, two sisters did leave for London and failed to establish themselves - the lowest of low pay (cleaning), one at least falling into alcoholism and destitution. From what I have seen this started to change after WW2 when it became far more acceptable for single Irish women to leave rural communities for, certainly, London. In fact, I once lived in a Guinness Trust block of 120 bedsit/studios in Brixton, built in the 1950's specifically for single Irish women who would, by then, migrate to work in offices as well as factories (new freedoms following from contributions to the war effort in wartime factories). Guinness initially built the bedsits without kitchens as the preference then was to foster communal meal times downstairs in the purpose-built hall. There was even a doctor's practice built as part of the estate. That was 20+ years after the time of this play.
The unseen hold of the Catholic church was everywhere.
See I thought Aggie and Rose's sad outcome was realistic and also that's what happen to Brian Friel's Aunts in real life. They got on rather better. Although after the Agnes character died the Rose did struggle. They ended up with a home of their own high now sells for a few million.
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Post by jm25 on May 5, 2023 21:59:26 GMT
Watched this tonight and thought it was rather wonderful. Went in with no knowledge of the play or any of Friel’s other works and found this a really moving piece - snapshots of warmth and humanity within a family on the precipice of change. The last memory play I watched was ‘The Glass Menagerie’ but this worked so much better.
I thought Alison Oliver and Louisa Harland were great but Siobhán McSweeney was my highlight. Very funny!
I was very close to the front and thought that was the perfect vantage point. I didn’t immediately notice any mics on the actors so did wonder if those right at the back would be able to hear everything as it’s obviously a very big auditorium.
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Post by theatrefan77 on May 9, 2023 23:55:43 GMT
This was excellent. It's such a wonderful play anyway. Still have very fond memories of the 2009 in the round production at the Old Vic and i was afraid this one wouldn't be as good, but it was.
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Post by nottobe on May 12, 2023 6:48:23 GMT
Yesterday I went to see this for a second time. I don't often revisit productions in the same run but I jus felt compelled to. I enjoyed it just as much the second time and am glad I got to see this again. The first time I watched it I felt like Chris was the main character if you can pick one but this time Kate was the sister I felt I was following most, now that I knew the plot in a better way.
I don't think I'll go a third time (yet) but if they are bringing back 'The father and the assassin' than surely this will return to the Olivier due to demand so who knows...
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Post by david on May 13, 2023 23:23:45 GMT
Well it seems the the theatre gods are at work again for me. Having managed to grab a £10 centre row C stalls seat in last Fridays rush day for tonight’s show, this was an absolute steal to see this fantastic show by a wonderful cast. There was no weak links amongst the cast of 8 who made me both laugh (Sibohan McSweeney was absolute star on stage and for me worth the ticket price alone) as well as stop and reflect on the sadness of what happened to the family in the future during Michael’s speech at the end. It’s a lovely snapshot of life in times gone by. As a memory play, the use of older Michael as the narrator was a nice touch to both look back on events and reveal the differing fortunes of the family later on in life. It’s a nice slow burner piece that kept me totally engaged for the entire night.
I really loved the set design from Robert Jones (particularly the kitchen) though we did have an issue with the video screen at the back of the set showing the hillside. Halfway through Act 1 it disappeared but thankfully made a reappearance after the interval.
As an extra bonus, I spotted Sir Ian McKellen in the downstairs bar area tonight.
Rating - 5⭐️
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Post by clarefh on May 14, 2023 19:33:51 GMT
I was also there yesterday and loved it. I first saw this play when I was mid teens, so was interesting coming back to it now at a different life stage. That first production had such a huge impact on me however, it was lovely to revisit something that has stayed with me so vividly all those years.
I thought the performances were all played with such a balance of depth and light and agree that Alison Oliver in particular was really captivating.
It’s a play with so many layers, and layers of emotions - the warmth of the family setting and relationships, the underlying sadness and waste of these women’s lives trapped with no real choice which really hit me this time, and then that sense of a time and people gone. Really beautiful and moving.
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Post by theatrelover97 on May 17, 2023 13:27:00 GMT
Went to this a few weeks back and what a fantastic play it was. Truly sensational.
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Post by Mark on May 17, 2023 20:35:45 GMT
Loved this. It’s a slow burner but you really feel like you get to know the characters over the course of the play. I absolutely loved the total explosion of joy during the dancing scene in act one. Great acting all around and another win for the National. The Olivier has never looked more beautiful with this stunning set.
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Post by bee on May 20, 2023 17:47:21 GMT
Saw this afternoon's matinee of this. Would agree with most of the positive reviews on here, the set is stunning, the acting is marvellous - Justine Mitchell in particular just shines - and in the end it leaves you with a feeling of sadness about lives blighted by events which don't seem especially dramatic when they happen but which have deep consequences.
Would also agree with those who were bemused by the portrayal of Jerry. Not a hint of Welshness about him.
But ultimately that's a small peeve. 4 stars from me.
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Post by mrnutz on May 25, 2023 10:21:38 GMT
I saw the matinee yesterday and really enjoyed it! I had no prior knowledge before going but booked on the strength of the reports here, and glad I did. Beautiful set and really excellent performances across the board.
4/5
It was my first time sitting on the front row at the Oliver - cheap and a fantastic view but SO uncomfortable on the old backside!
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Post by NeilVHughes on May 27, 2023 12:47:40 GMT
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Post by Being Alive on May 28, 2023 13:13:22 GMT
I had the same problem with this I had with virtually all Brian Friel plays...it takes too long for nothing to happen.
Super cast, absolutely beautiful set (best use of the Olivier I've seen for a while) and I was never bored, but I left feeling quite unfulfilled at the end of it. I think the use of the narrator/kid telling you what happened rather than us seeing it got quite tiresome in the end - they could very easily have cut 20 mins (arguably in both acts) and you'd have lost nothing really.
Glad to have seen it, cast and production superb, I just wished it had moved a bit quicker.
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Post by barrowside on May 29, 2023 12:10:56 GMT
I loved it. It didn't quite trump the Abbey original where Bríd Brennan was the definitive Agnes but also because Rosaleen Linehan and Anita Reeves were also from the world of variety and had killer comic timing which landed some of the great lines better and created a brisker pace. I've seen many Irish productions since and this is the first time the design has captured the hazy, golden glow of Michael's memories since Joe Vanek's glorious original set and cornfield. That said I'd love to see this NT production again in a slightly more intimate space. I'd be thrilled if I heard Nica Burns was going to take it into somewhere tighter like @sohoplace. Wishful thinking I'm sure - although it has done amazing box office in the Olivier it may not be the commercial West End proposition it was in 1991.
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