3,575 posts
|
Post by showgirl on Oct 10, 2024 2:53:56 GMT
I saw this at yesterday's matinee and agree with many of the earlier comments. It was an all-but-full house and as you might expect, given that it was a weekday matinee and a play focusing (imaginatively) on Alzheimer's, there was hardly anyone in the audience below pension age. The staging enhances it a lot and all the performances are good. I enjoyed the credible family interactions and conflicts; less so the more mystical, poetical flights of fancy, largely focused around the husband whom I found supremely irritating. He seemed an implausible partner for the down-to-earth, hard-headed businesswoman, ruthless at times, whom we're told Queenie was, though the reason she became that way is explained as the play develops. I didn't find it moving but that's probably because I don't come from the background or culture depicted or even from a family with surviving older relatives, close or otherwise and the writing did a good job of conveying what it is like in those circumstances.
Two things I really disliked and found distracting, but not during the play themselves: there's a really pervasive, strong, unpleasant smell throughout the foyers as you enter, though there was no warning about this; also very loud music so there's nowhere quiet or pleasant to sit if you arrive early and want to read or have a break.
|
|
|
|
Post by hamletothello on Oct 10, 2024 4:40:28 GMT
I saw this at yesterday's matinee and agree with many of the earlier comments. It was an all-but-full house and as you might expect, given that it was a weekday matinee and a play focusing (imaginatively) on Alzheimer's, there was hardly anyone in the audience below pension age. The staging enhances it a lot and all the performances are good. I enjoyed the credible family interactions and conflicts; less so the more mystical, poetical flights of fancy, largely focused around the husband whom I found supremely irritating. He seemed an implausible partner for the down-to-earth, hard-headed businesswoman, ruthless at times, whom we're told Queenie was, though the reason she became that way is explained as the play develops. I didn't find it moving but that's probably because I don't come from the background or culture depicted or even from a family with surviving older relatives, close or otherwise and the writing did a good job of conveying what it is like in those circumstances. Two things I really disliked and found distracting, but not during the play themselves: there's a really pervasive, strong, unpleasant smell throughout the foyers as you enter, though there was no warning about this; also very loud music so there's nowhere quiet or pleasant to sit if you arrive early and want to read or have a break. I was told by NT staff that the sounds and smells in the foyer are intended to immerse you in the world of the play before you enter the auditorium. |
|
|
|
Post by parsley1 on Oct 10, 2024 7:35:26 GMT
I saw this at yesterday's matinee and agree with many of the earlier comments. It was an all-but-full house and as you might expect, given that it was a weekday matinee and a play focusing (imaginatively) on Alzheimer's, there was hardly anyone in the audience below pension age. The staging enhances it a lot and all the performances are good. I enjoyed the credible family interactions and conflicts; less so the more mystical, poetical flights of fancy, largely focused around the husband whom I found supremely irritating. He seemed an implausible partner for the down-to-earth, hard-headed businesswoman, ruthless at times, whom we're told Queenie was, though the reason she became that way is explained as the play develops. I didn't find it moving but that's probably because I don't come from the background or culture depicted or even from a family with surviving older relatives, close or otherwise and the writing did a good job of conveying what it is like in those circumstances. Two things I really disliked and found distracting, but not during the play themselves: there's a really pervasive, strong, unpleasant smell throughout the foyers as you enter, though there was no warning about this; also very loud music so there's nowhere quiet or pleasant to sit if you arrive early and want to read or have a break. It is incense |
|
|
|
Post by parsley1 on Oct 10, 2024 18:38:10 GMT
It was a few days before PN, oddly, that I noticed that the run - well, matinees, certainly, as those are the performances I can attend - was suddenly almost sold out, so maybe it was word of mouth? The positive reviews which followed can only have helped. However, as so often with the NT, a swathe of tickets appeared shortly before the next couple of performances so I bagged one of the more affordable ones as though that was more expensive than they can be via Friday Rush, doing the latter is difficult or impossible on a working day. After this week ie: from next weds matinee The entire run is sold out thereafter Suggest get a remaining ticket now if you want to catch it |
|
|
|
Post by jake on Oct 10, 2024 18:55:22 GMT
I saw this at yesterday's matinee and agree with many of the earlier comments. It was an all-but-full house and as you might expect, given that it was a weekday matinee and a play focusing (imaginatively) on Alzheimer's, there was hardly anyone in the audience below pension age. The staging enhances it a lot and all the performances are good. I enjoyed the credible family interactions and conflicts; less so the more mystical, poetical flights of fancy, largely focused around the husband whom I found supremely irritating. He seemed an implausible partner for the down-to-earth, hard-headed businesswoman, ruthless at times, whom we're told Queenie was, though the reason she became that way is explained as the play develops. I didn't find it moving but that's probably because I don't come from the background or culture depicted or even from a family with surviving older relatives, close or otherwise and the writing did a good job of conveying what it is like in those circumstances. Two things I really disliked and found distracting, but not during the play themselves: there's a really pervasive, strong, unpleasant smell throughout the foyers as you enter, though there was no warning about this; also very loud music so there's nowhere quiet or pleasant to sit if you arrive early and want to read or have a break. It is incense Thanks for the warning. I'm really glad I didn't buy a ticket and now I shall drop plans to turn up on spec on one of my free evenings. Reminds me of about 15 years ago when I turned up for a show in an old dockside warehouse and turned on my heel because the reek of patchouli was noticeable before you even got through the door. In these days when you get warned about a single cigarette being lit on stage many yards away, you'd think they'd be a bit more careful before subjecting audiences to other oppressive odours. |
|
|
|
Post by parsley1 on Oct 10, 2024 19:03:10 GMT
Thanks for the warning. I'm really glad I didn't buy a ticket and now I shall drop plans to turn up on spec on one of my free evenings. Reminds me of about 15 years ago when I turned up for a show in an old dockside warehouse and turned on my heel because the reek of patchouli was noticeable before you even got through the door. In these days when you get warned about a single cigarette being lit on stage many yards away, you'd think they'd be a bit more careful before subjecting audiences to other oppressive odours. Sorry but I think people need to get a grip It’s noticeable but hardly overpowering or offensive Didn’t see people collapsing or suffocating ] Incense plays a role in many religions Including Catholicism Hinduism and Sikhism And a role in death and mourning rituals I take some offence to the term “oppressive” tbh Probably you are better off at home maybe How do you adapt to the stench of rubbish sewage and piss around London? |
|
3,575 posts
|
Post by showgirl on Oct 10, 2024 19:07:27 GMT
It makes sense that the aim of the music and incense (thank you hamletothello and parsley1) is intended to set the scene but I stand by what I said about the music being almost painfully loud and unavoidable and about the fact that some people don't cope well with loud noises and/or strong smells, both for reasons of mental and physical health. So it would be reasonable for the NT to provide a warning about both. |
|
|
|
Post by jake on Oct 10, 2024 19:09:08 GMT
Thanks for the warning. I'm really glad I didn't buy a ticket and now I shall drop plans to turn up on spec on one of my free evenings. Reminds me of about 15 years ago when I turned up for a show in an old dockside warehouse and turned on my heel because the reek of patchouli was noticeable before you even got through the door. In these days when you get warned about a single cigarette being lit on stage many yards away, you'd think they'd be a bit more careful before subjecting audiences to other oppressive odours. Sorry but I think people need to get a grip It’s noticeable but hardly overpowering or offensive Didn’t see people collapsing or suffocating Can always go and stand outside if so bothered Can always not go, too |
|
|
|
Post by jake on Oct 10, 2024 19:12:35 GMT
Thanks for the warning. I'm really glad I didn't buy a ticket and now I shall drop plans to turn up on spec on one of my free evenings. Reminds me of about 15 years ago when I turned up for a show in an old dockside warehouse and turned on my heel because the reek of patchouli was noticeable before you even got through the door. In these days when you get warned about a single cigarette being lit on stage many yards away, you'd think they'd be a bit more careful before subjecting audiences to other oppressive odours. How do you adapt to the stench of rubbish sewage and piss around London? Can't remember the last time I queued up to buy a ticket to smell it. |
|
2,492 posts
|
Post by zahidf on Oct 10, 2024 19:42:29 GMT
The upstairs audotorium has no music or incense smell of you want to wait there prior to the play...
I don't think the incense was particularly oppressive myself. Music a little loud, but not excessively so.
They have a quiet room marked near the entrance as well.
|
|
|
|
Post by jake on Oct 10, 2024 20:23:33 GMT
The upstairs audotorium has no music or incense smell of you want to wait there prior to the play... I don't think the incense was particularly oppressive myself. Music a little loud, but not excessively so. They have a quiet room marked near the entrance as well. Thanks. Maybe I'll drop by on an evening when I'm not planning to attend and get a feel of it. I like Meera Syal a lot and the play looks interesting. And, of course, they don't really need me to fill the house; which wasn't the case for the warehouse production I mentioned above. That looked like it could do with any passing trade it could get; but I had enough of being smoked out by patchouli, sandalwood etc when I was at college. It really gives me a headache- even more so than the loud music mentioned. I can usually put up with loud music if the play is appealing enough and the sounds are reasonably relevant. Which reminds me of a production of Trainspotting I saw in Upper St a while back. We all sat quietly waiting for the performance to start - which it duly did in a raucous club scene. At this point, a couple in the audience walked out holding their ears. I couldn't help wondering what they expected an adaptation of Trainspotting to be like! Thankfully, though, the production didn't use, ahem, exotic smells to set the scene. |
|
|
|
Post by parsley1 on Oct 10, 2024 21:49:54 GMT
Parsley1 How do you adapt to the stench of rubbish sewage and piss around London? And I thought it was ME! I have a hanky with essential oils Which I refresh periodically Much in the fashion of a nose gay With a fragrance predominantly of clove, orange, cinnamon To ward away bad smells In the summer I may change for a mint, eucalyptus, camphor blend When the stench is particularly potent and incubated by the hot weather It can be like a fermented toxin |
|
96 posts
|
Post by tommy on Oct 12, 2024 12:20:22 GMT
Great natural acting and creative staging. I wouldn't be surprised if they would turn this play into a movie in the (near) future. The difference between the intense scènes showing the impact of the disease often in contrast with the scènes before/after, but perhaps that also helped the subject of the play easier to deal with in its entirety. I could see this already within a movie too. Truly deserved standing ovation, not in the least for the leading role.
|
|
|
|
Post by jr on Oct 23, 2024 21:02:22 GMT
I think I am in the minority here. First act just finished and struggling with the play. It looks like the writer read a manuel about Alzheimer's and just created scenes to fit the facts in. The scene about the lasting power of attorney is completely unnecessary and utterly boring.
Meera Syal is great and that's the reason why I am staying. Shobna Gulati is also good but she does not have much to do.The last scene of act 1 was powerful. Can't stand the scenes with the husband or the actor playing him, too forced.
|
|
|
|
Post by ShoreditchTom on Nov 1, 2024 17:07:38 GMT
Does anyone know how good/bad my view is likely to be for this in side circle seats N4/N5?
|
|
7,176 posts
|
Post by Jon on Nov 3, 2024 1:30:24 GMT
Saw this tonight and liked it a lot. It's a play which explores the effects of dementia on a person and the impact on their family and it ends up being very moving but also very funny as well. Meera Syal gives a fantastic performance as Queenie, the character is very relatable and it's honestly tragic watching her decline as the play progresses. Raj Bajaj, Natalie Dew and Marc Elliott are great as Queenie's three children and it's interesting seeing how different the relationship between each of the children is with their mother and to each other. Shobna Gulati is very good as Indrani as is Zubin Varla as Ameet. I liked the set which represents the brain wires along with the sound design and lighting representing the echoes of the mind. There is a lot of stage trickery which is used which I liked especially the suitcase which hides the trapdoor allowing Ameet to go through it, some sleight of hand for the scene with the
mangoes and the butterfly which ends up being a tissue I would recommend it but it may be a tough watch for some people. |
|
1,495 posts
|
Post by Steve on Nov 7, 2024 23:41:37 GMT
Saw this tonight and felt it built into something devastating. The core plot trajectory is highly predictable, but that doesn't matter a jot as the subplots are very strong, the music is magical and the acting is majestic. Some spoilers follow. . . I remember attending Terry Pratchett's final book launch, with his assistant who was helping him cope with his early onset Alzheimers, and he said that he was determined to die as soon as he couldn't write as that was his reason for living. There is something about the way Meera Syal's Queenie's early onset Alzheimers causes her to live and relive her life with her husband, Zubin Varla's Ameet, who died 20 years earlier, that feels much more intensely beautiful than anything Pratchett envisioned, as it's clear she and he lived for each other, that he was a funny and romantic man, with Zubin Varla's resonant warm embrace of a voice (perfect casting) and Nitin Sawhney's brilliant elegiac music sweeping us away with her and him into that lost world. The fact that the loss of her early memories of him will ultimately mean his second death, when those memories are lost, gives this play a doubly poignant landing. The Zubin Varla subplot was my favourite, but the subplot, whereby her 3 children must resolve their feelings for her, for each other, and for the illness, is almost as powerful, and it allows us to see the nitty gritty unsavoury ultra-candid aspect of her personality (she challenges the possible paternity of her eldest child's newborn child) that makes her character feel more real than if she had been sentimentally idealised. That abrasiveness to her personality becomes MUCH worse as the disease takes hold. Syal's Queenie's candid nature also has its funny side, such as when she points out that her doctor's name, Enoch, isn't ideal for treating immigrants lol. There is a King-Lear-derived hilarious element to her relationship with her children, whereby she seeks to stay with each child in turn, that really made me laugh, and it's laughs like this that make the intense pain of the main plot manageable. And the pain IS intense because Syal gives the strongest, most award-worthy, performance I've seen her give, her character slightly different in aspect and movement from scene to scene, in every scene. Raj Bajaj, as her eldest, most alienated child, always evinces softness behind his alienation and fury; as her youngest, most responsible, most successful child, Natalie Dew flashes steely resentment towards her brother, while being the most pragmatic and loving towards her mother; and as the bridge between these siblings, Marc Elliott's Gopal is warmth incarnate. Shobna Gulati is so funny and winning and humorous, as Indrani, Queenie's best friend, and "Auntie" to her kids; and as a care home worker, Stephen Fewell effortlessly conveyed the withholding and compassionate qualities necessary to make life bearable for an Alzheimers sufferer. Anyhow, the ending is a little too protracted, and the main plot a little predictable, but the sheer emotive power of the whole was emotionally overwhelming for me, upsetting and wonderful simultaneously, to the tune of 4 and a half stars.  |
|
1,860 posts
Member is Online
|
Post by Dave B on Nov 10, 2024 17:23:05 GMT
Saw the matinee yesterday. This one hits uncomfortably close to the bone for a similar issue to Alzheimer's and my partner is boggled that I voluntarily went to see this - there was no way she would. I had not realised that there could be Covid & care home connotations and yikes - some of that was horribly accurate.
Meera Syal is great, definite shades of Lear in here - in particular towards the end of the first act, there feels like a storm is breaking through. I really really liked Stephen Fewell's Pavel, really captured just how care staff can answer without answering and the tricky balance it can be in such situations. Again, felt very true to my own experiences.
Only complaint is that I had not realised the Rush tickets were for the pull down seats at the end of the row. Not too bad, just a minute to get use to the balance in the seat!
|
|
7,176 posts
|
Post by Jon on Nov 10, 2024 17:33:48 GMT
Only complaint is that I had not realised the Rush tickets were for the pull down seats at the end of the row. Not too bad, just a minute to get use to the balance in the seat! I picked the circle seating when I did the Rush because I'm not keen on those folding seats. |
|
|
|
Post by greenandbrownandblue on Nov 10, 2024 17:39:39 GMT
I too saw this yesterday afternoon.
Superb central performance from Meera Syal - the best I've seen her give.
In fact the whole cast were strong, as was the production. The play itself is relatively straightforward - it's less 'clever' in its portrayal of Alzheimer's than, say, The Father - but it's well written and timely.
At first I wasn't sure about the ending tonally - but on reflection, it was a nice (if slightly protracted) bit of comic relief.
|
|
|
|
Post by aspieandy on Nov 14, 2024 7:16:15 GMT
In fact the whole cast were strong, as was the production. The play itself is relatively straightforward - it's less 'clever' in its portrayal of Alzheimer's than, say, The Father - but it's well written and timely.
Yes, it was, unlike The Father, particularly straight forward.
Despite that, the first half was the scariest thing I’ve watched in a long time, leading to a sombre interval. The medic on duty in the foyer was there for good reason (and at the end, also).
I did struggle a little with the dialogue. Probably unfair but it felt like someone from Blue Peter had knocked up a side hustle - although with barely a dry eye around, it was clearly effective and likely me being griumpy.
Wasn't entirely comfortable with the focus on her marriage/husband when, in reality, it will be far more wide-ranging. But it is the Dorfman and budgets are tight (a Ganges tighter than the Oscar-winning effort by Zeller, Hopkins, Colman, Gatiss, etc).
In melancolic mood, and from what is long, long time ago, it was nice to be reminded of seeing burning ghats on the Ganges at Varanasi.
It struck me it might have been good to see this on a double Saturday with Godot in the evening - perhaps combining in interesting ways (or not!).
Certainly powerful and moving although, given we’re all looking at our own potential future, you’d hope for that much.
Returns only I believe, before disolving into stardust on Saturday.
|
|
