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Obsession
Apr 23, 2017 11:58:51 GMT
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Post by jadnoop on Apr 23, 2017 11:58:51 GMT
I have a few weeks to wait to see it so will keep my fingers crossed. Might want to keep toes, arms and legs crossed too You will need it ![:)](//storage.proboards.com/forum/images/smiley/smiley.png) sounds like a line from an 80s Schwarzenneger film.
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Post by jadnoop on Apr 23, 2017 6:45:40 GMT
On first reading through this thread I got the impression of a wave of near-unanimous negative comments, but on re-reading I see that there's just one poster's opinion spread over several separate posts, plus a post with a second-hand comment.
Obviously that doesn't mean that the play is any good, but I'm hoping that this is just a case of the show just not meshing with the early commenter(s) here, rather than the first steps of a truly terrible run. A few user comments are up on Time Out and they seem more positive (although still fairly lukewarm).
I have a few weeks to wait to see it so will keep my fingers crossed.
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Post by jadnoop on Apr 11, 2017 12:53:10 GMT
Today, improbable (the theatre company that produced Akhenaten) sent out a mail that says (I bolded the last sentence):
"Starting this week with some news - as some of you might know, our production of Akhnaten by Philip Glass won Best New Opera Production at the Olivier Awards on Sunday! Thank you for all the kind words on social media, we're thrilled to bits. Watch this space for where the production goes next. "
That final sentence makes it seem like the production is due to continue for a little longer...
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Post by jadnoop on Apr 10, 2017 16:39:04 GMT
900 seats wasn't it, or have I made that up? But it has various configurations, so probably some have fewer seats. And Julius Caesar is promenade, so Theatremonkey can simply colour in the entire promenade-stage area with one single felt tip. In this context do you know what's meant by 'promenade' theatre? I'm imagining something somewhat interactive like Punchdrunk, where audiences walk around and the boundary between stage and 'seating' is essentially blurred, but then I'm unclear why something like that would need to be shown in a theatre, rather than any other building. Or is something like the van Hove Roman Tragedies also considers promenade, where there's seating but also some (more controlled) moving around within the theatre space?
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Post by jadnoop on Apr 10, 2017 13:35:01 GMT
Thanks Honoured Guest & Xanderl for your suggestions.
Titus definitely seems intruiging and the trailer on the RSC website piqued my interest, but I'm a little nervous about the suggestions of audience members passing out due to the gore and violence. So long as the context is appropriate that sort of thing doesn't bother me in films (where being able to say that people fainted seems to be a badge of honour for horror movies), but I haven't seen anything on stage that was particularly bloody, so I'm not sure how that would be...
Perhaps I'll go with Coriolanus and try for Julius Caesar next year.
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Post by jadnoop on Apr 10, 2017 13:26:32 GMT
Did Philip Glass want to set three equal syllables? (Genuine question) I have a couple of recordings of it and just listened to the Hymn where they say the name and in both it's definitely pronounced as three syllables so your idea seems plausible. I don't know for certain though.
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Post by jadnoop on Apr 10, 2017 13:08:40 GMT
It's called Akhnaten. Akh - Akh - Akh - Akh - Akh - Akh - Akh - Akh - na - na - na- na - na - na- na - na - ten - ten - ten - ten - ten - ten - ten - ten. Doo - dy - duh - duhr! Doo - dy - duh - duhr! Doo - dy - duh - duhr! Doo - dy - duh - duhr![Repeat] Weirdly though, most references online to the actual pharaoh that the opera is based on seem to spell it as Akhenaten.
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Post by jadnoop on Apr 10, 2017 12:35:39 GMT
Really glad that this won at the Oliviers. With an ENO announcement due in about a month, I really hope they decide to bring it back, or perhaps put on another of the Glass operas.
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Post by jadnoop on Apr 10, 2017 12:30:56 GMT
Hmm. We've got so much booked already for the rest of the year so weren't planning on going for any of these but £10 per ticket might be too good of a deal to pass up.
Does anyone have any recommendations for the Roman plays? I've seen a fair bit of Shakespeare, but none of these four (except for the Ralph Fiennes' flim version of Coriolanus).
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Post by jadnoop on Apr 6, 2017 11:37:41 GMT
Many thanks!! I wonder what will be left for those without memberships by the time general sale starts. I'm guessing with Olivia Colman, not much... There should be always Friday rush! I don't have any membership but I have always managed to get tickets at the National. Is Friday Rush definitely continuing? Angels in America isn't included in that scheme (has a ballot instead), but is that just a one-off?
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Post by jadnoop on Apr 3, 2017 11:48:13 GMT
Really looking forward to the Ninagawa Macbeth. It's strange that the cheaper/side seats aren't on sale yet. If it's a revival of something that's been at the Barbican previously I assumed that they would know about any viewing restrictions or sight lines issues.
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Post by jadnoop on Mar 29, 2017 10:39:47 GMT
An announcement had now been made: Welcoming back artists and companies to the Barbican Theatre and The Pit, this new ambitious dance programme features two Olivier-nominees: Artistic Associate Michael Clark Company who returns with new material and choreography set to a soundtrack by Patti Smith and David Bowie, as well as Rocío Molina, whose newest piece explores womanhood as part of Dance Umbrella. Paying tribute to the late Japanese theatre director Yukio Ninagawa, we bring his epoch-making Macbeth to the Theatre this October, a production that introduced the UK to the Ninagawa Company 30 years ago. The Barbican’s co-commission of Landmark Productions and the Galway International Arts Festival Woyzeck in Winter, makes its UK premiere in the Theatre, interweaving songs from Schubert’s Winterreise with Büchner’s dramatic masterpiece Woyzeck. Taking inspiration from the Barbican Art Gallery’s exhibition around the work of Jean-Michel Basquiat this September, nitroBEAT returns to The Pit with Suckerpunch Boom Suite, a new performance responding to some of the themes of Basquiat’s wide-ranging work. The Famous Lauren Barri Holstein, returns to The Pit in November with her newest work Notorious, blurring the lines between live art, theatre and fine art. To coincide with Notorious, The Famous Lauren Barri Holstein leads a practical weekend for young adults, exploring pop feminism in response to the production. Following Notorious in The Pit, we present the second run of CN Lester’s Transpose: Barbican, a theatrical journey with artists from the queer and trans communities who share stories in a multi-disciplinary form. Winners of this year’s Oxford Samuel Beckett Theatre Trust Award, Mars.tarrab perform the world premiere of ROLLER in The Pit, a co-production investigating female competition, ageing and power in roller derby. This winter the Royal Shakespeare Company returns to the Barbican with a thrilling London season, Rome MMXVII, comprising four of Shakespeare’s most gripping plays. Exploring the decadence, politics and corruption of Ancient Rome, Coriolanus and Julius Caesar are followed by Antony & Cleopatra and Titus Andronicus in the Theatre. To coincide with the season, RSC director Iqbal Khan runs an intensive practical weekend in response to his production of Antony & Cleopatra at the Barbican. And at Christmas-time, we bring the egg theatre and Travelling Light Theatre Company’s festive production of Snow Mouse for babies and the very young, a tale of an endearing puppet and performer who embark on an adventure in a magical forest. blog.barbican.org.uk/2017/03/theatre-and-dance-season-launch-2017/
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Post by jadnoop on Mar 28, 2017 6:38:36 GMT
Really excited about this. For people who have seen this (or other foreign language Shakespeare), how do the surtitles work? Do they simply show the original text, or is it an English translation of the translation?
Jan, from the guardian article it looks like a revival.
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Post by jadnoop on Mar 25, 2017 19:03:15 GMT
Good spot! Announcing new shows just before putting them on sale is normal behaviour for the Barbican Just spoke with them, and the dates are apparently correct. Barbican plus tickets are on 30th march, then 3rd April for Barbican members. Don't remember general sale, but around 5th April I think.
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Post by jadnoop on Mar 25, 2017 17:26:48 GMT
As part of the Yukio Ninagawa obituary in the Guardian, it was noted that Macbeth would be returning to the Barbican in September 2017, www.theguardian.com/stage/2016/may/16/yukio-ninagawa-obituaryThere isn't anything listed on the Barbican yet. However, if you google 'Ninagawa Macbeth Barbican 2017', there is a link. It seems to be a placeholder, www.barbican.org.uk/theatre/event-detail.asp?ID=21166 but the google notes are "Macbeth. by William Shakespeare Ninagawa Company. 5 - 8 October 2017 / 19: 15, 14:00. Theatre ... Barbican Members Plus: Thu 30 Mar, 10am. Barbican ..." which seems legitimate, see a screen grab from google here: imgur.com/q27ZMqVDoes anyone know anything more about this? It seems strange that tickets would go on sale in a few days, without prior advertisement...
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Post by jadnoop on Mar 20, 2017 12:23:12 GMT
So glad I got a ticket for this; I usually assume that the ROH is too expensive for me and never look at what's on, so was hugely surprised by how comparatively cheap the tickets were. Is it reasonably common that they would be set at this level? Although the top seats are super expensive, there are usually cheap tickets either further back (amphitheatre level), seats with restricted views and standing tickets (at the second level iirc). The price depends on the production, so modern ballets like this one or Woolf Works had the cheapest tickets at around £5, whereas the upcoming Mariinsky season starts at £10. I think it's also just a question of getting there early as, like anything, the cheap seats will sell very quickly for popular shows. By the way, the royal opera house does a Friday Rush thing like the National Theatre, where a number of cheaper tickets are held back and sold on each Friday, so it's worth keeping an eye out for that also, for sold out shows.
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Post by jadnoop on Mar 19, 2017 17:56:50 GMT
Caught this last night and would definitely recommend. I can see that on another thread people are recommending a Crystal Pite piece. Her new ballet s the last of the three ballets in this programme and is amazing. Even those who don't usually like ballet will like this. There are over 30 dancers on stage, and the group movement (depicting a journey, hope, despair of refugees) is unlike anything I've seen before. It's called 'Flight Pattern' and one of the pleasures is watching the unexpected patterns/rhythms of movement. The second ballet, After the Rain, was also beautiful - so tenderly danced. I've got tickets for this later in the week and can't wait. Incidentally, you haven't discussed the first ballet, Human Seasons, in your comment. Does this means you weren't so keen on it? There seem to have been some pretty negative reviews towards that part.
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Post by jadnoop on Mar 10, 2017 13:26:59 GMT
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Post by jadnoop on Mar 6, 2017 11:35:11 GMT
The premiere of the adaptation of Paul Auster's City of Glass was on Saturday in Manchester, and it's running until March 18th before transferring to the Lyric in Hammersmith.
The few images and notes that have come out from the Home Twitter look intriguing (including mention of VR somehow connected with the show), but there doesn't seem to have been much else about it yet.
Has anyone here gone, or heard about it? I'm intrigued to catch it when it comes to London...
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Post by jadnoop on Feb 20, 2017 15:10:50 GMT
Royal Court have said: Priority booking opens today for Supporters Only Friends 10am Tuesday 21 Feb General booking 10am Wednesday 22 Feb Sorry, but which play is that for? The friends booking for B and Victory Condition seems to be open already.
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Post by jadnoop on Feb 20, 2017 12:09:03 GMT
They've also released extra dates for Nuclear War, which was sold out.
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Post by jadnoop on Feb 12, 2017 11:36:25 GMT
Who are Septimus and Evans? The programme and the relay presentation identify no characters or dancers. It was my first time at the ROH and I noticed that at first too. However, while main programme doesn't identify the dancers, each booklet came with a separate sheet of paper which lists the production for that day, including the dancers for each part. It appears to have been printed out on the day since the replacements/understudies were included in the printout (someone was ill so is listed as being replaced). Presumably this wasn't included at the cinema screenings(?) I assumed that this was done (instead of making it explicit in the programme as is normal for the theatre) because it's more normal to have replacements in the ballet compared, but I don't know. For part 1, the two leads are listed as Alessandra Ferri and Federico Bonelli on the Wednesday, but I have no idea if that's the same for other days. The printout doesn't explicitly list which character each dancer is playing but simply lists the groups of dancers in terms of their role importance. For me, that's not an issue, because I wouldn't have been able to link a dancer on stage with a specific character name anyway, outside of a couple of the key people. I'd never been to see a dance/ballet before a few weeks ago when I went to see Les Enfants Terribles at the Barbican. To be honest, I really love Philip Glass' music and that was the reason I got tickets in the first place, but the dancing and staging really blew me away. I know the reviews haven't been that great for it but I really loved the mix of music, dance, and visuals and picked up tickets to a whole bunch of other things including Woolf Works. I enjoyed parts 1 and 2 of Woolf Works, although I'm not sure quite how I feel about the futuristic-ness of part 2. One thing I found was that some of the geometry and layering of dancers, and the lines of lights in part 2 might have been lost a little on me as I was up in the cheap seats. Part 3 though was absolutely mesmerising, and would have made the whole thing worthwhile even if I had hated parts 1 & 2. All in all, I really loved it and picked up some tickets to see it again before it ends. I can't believe the lead was 53 years old.
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Post by jadnoop on Jan 30, 2017 15:05:16 GMT
Tickets are on public sale now.
Has anyone gone to see the Comedy Store Players at the Globe thing in the past?
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Post by jadnoop on Jan 27, 2017 10:20:51 GMT
I'm (happily) surprised that this is being put on so soon after The Flick. I know it was on a bunch of critical top tens, but I got the feeling that it wasn't such a success financially; iirc it didn't sell out, and the night there seemed to be quite a few empty seats (and more after the interval). Really looking forward to this, but if the tone is similar, I wonder how successful it will be.
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Post by jadnoop on Jan 27, 2017 10:02:37 GMT
I'm so excited for the new Annie Baker's play! Oh! Completely missed that. The Flick blew me away this year, so really excited for something new from her.
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