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Post by rumbledoll on Aug 13, 2016 14:29:19 GMT
Ryan, probably by the end of it all you will be glad for an early start. We really NEED this 1,5 break between each )
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Post by rumbledoll on Aug 13, 2016 14:32:33 GMT
And if there's still ANY award with The Best Ensemble Cast nod, Young Chekhov season most certainly should have one.
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Post by lynette on Aug 13, 2016 14:54:40 GMT
I'm doing the three in a day soon..any recommendations on eating, pacing, jelly baby quota?
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Post by Deleted on Aug 13, 2016 15:14:34 GMT
I'm doing the three in a day soon..any recommendations on eating, pacing, jelly baby quota? Leave before the seagull
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Post by rumbledoll on Aug 13, 2016 15:15:04 GMT
I'm doing the three in a day soon..any recommendations on eating, pacing, jelly baby quota?
I'd say be prepared that entire downstairs space (Kitchen) is busy since everyone hang out there (including actors, which is a nice bonus) so if you'd like a place to eat there - be quick. I image House is also pretty much full but not sure - not for fancy food myself. 15min Queue to ice-cream/ pizza van outside too.
I'd recommend to get as much fresh air as possible - times really does fly in between shows. As I found Ivanov emotionally draining first 40 mins after I just wanted to get me a gun.. but I managed to recover before The Seagull which I most happy about as it's glorious.
Have fun!
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Post by harry on Aug 13, 2016 22:38:09 GMT
Just back from this. I saw the 3 play day in Chichester last year and loved it so I was excited to see it again here in London. It survives more than intact and in fact replacing Sam West (who's never yet been my cup of tea in anything I've seen him in) with Geoffrey Streatfield has elevated Ivanov to almost the superlative level of the other two. Platonov is still an intensely enjoyable unwieldy messy thing, Ivanov remains the darkest (figuratively and literally) of the triptych beginning bleak and getting bleaker. And in The Seagull we see how Chekhov has honed his craft to create an astonishingly assured and direct piece of writing, bursting with ideas. It is fizzing with tension without resorting to the noisy melodrama of Platonov, melancholy and affecting without the unremitting depression of Ivanov.
The Olivier works so well with the production and it feels more intimate than it did in Chichester despite the Oliver being of comparable size.
The one mistake is to squidge up the timings so the breaks between shows are shorter. At Chichester there were long lunch and dinner breaks giving plenty of time to wander out, find some food and mull things through. Here you get About 80min between each, and if you want to eat in any of the NTs own restaurants you need to book because everything was unsurprisingly rammed full of people. Both the Terrace and House were fully booked when I checked earlier in the week and The Green Room (where I ended up booking) was turning away anyone without a reservation. The whole day just felt ever so slightly too compact for me - I'd much rather start at 10:30 and let it breathe a bit more.
But all in all an unmissable treat.
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Post by Hana PlaysAndParasols on Aug 13, 2016 23:22:01 GMT
Just came back as well it was just heaven! I loved how the casting drew paralels between the characters in the plays and pretty much everyone was amazing. I really appreciated the adaptations, especially with Platonov - he made unbearably long conversations of the original into hilarious scenes. I am still devastated from The Seagull's ending by the way (and I've seen a lot of versions where I didn't really care to be honest). The Olivier works so well with the production and it feels more intimate than it did in Chichester despite the Oliver being of comparable size. That's interesting, what would you say was the reason? Did they make any changes in the design?
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Post by harry on Aug 13, 2016 23:52:06 GMT
That's interesting, what would you say was the reason? Did they make any changes in the design? No noticible changes. The seating goes further round the sides in Chichester and the stage is hexagonal rather than curved but the design is basically identical. I don't remember anyone splashing the front row in Chichester in Ivanov (or that the water ran all the way round the front of the stage but that very well may have been there and I've just forgotten) I can't quite put my finger on it but I just feel the Festival Theatre somehow makes you feel miles from the stage even when you're in the front stalls. It's a mess of an auditorium which has the bizarre and frustrating quirk where all the seats look across the stage at an angle rather than pointing at it!
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Post by lynette on Aug 14, 2016 20:05:09 GMT
HanaP&P - I'm always devastated by the end of The Seagull.
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Post by Deleted on Aug 14, 2016 22:30:19 GMT
HanaP&P - I'm always devastated by the end of The Seagull. Oh dear, whereas I positively welcomed it, I'm afraid. I was so bored at this, I actually found myself wishing I'd taken the bullet for the seabird in part 1.
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Post by lynette on Aug 15, 2016 17:50:06 GMT
HanaP&P - I'm always devastated by the end of The Seagull. Oh dear, whereas I positively welcomed it, I'm afraid. I was so bored at this, I actually found myself wishing I'd taken the bullet for the seabird in part 1. Did you see Simon Russell Beale do the ending, Jean? A while back, never to be forgotten, heartbreaking stuff.
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Post by rumbledoll on Aug 15, 2016 18:07:10 GMT
Oh dear, whereas I positively welcomed it, I'm afraid. I was so bored at this, I actually found myself wishing I'd taken the bullet for the seabird in part 1. Did you see Simon Russell Beale do the ending, Jean? A while back, never to be forgotten, heartbreaking stuff.
How was it different please? To be honest, from the text, the way t's written it's unclear whether Konstantin doing it as a hasty decision or is it rational. I loved how it this production it's obvious that his suicide is not an act of mementum madness - he is both preparing for it and prepared.
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Post by Deleted on Aug 15, 2016 18:53:27 GMT
Did you see Simon Russell Beale do the ending, Jean? A while back, never to be forgotten, heartbreaking stuff.
How was it different please? To be honest, from the text, the way t's written it's unclear whether Konstantin doing it as a hasty decision or is it rational. I loved how it this production it's obvious that his suicide is not an act of mementum madness - he is both preparing for it and prepared.
I was prepared for it practically the minute he walked on stage. It was the two hours of utter tedium in between that almost made me weep. And no, unfortunately I missed SRB's take on it. I think it's possible Chekhov just isn't for me. Uncle Vanya has never really grabbed me either. (Though I did like Amanda Hale very much in the otherwise weak St James' version.) I'll see how I fare with Ivanov and Platonov though. Got the tickets, might as well give it a chance!
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Post by lynette on Aug 15, 2016 18:56:10 GMT
Ok Jean, compare notes later. I'm doing the all three on one day...
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Post by rumbledoll on Aug 15, 2016 19:16:13 GMT
How was it different please? To be honest, from the text, the way t's written it's unclear whether Konstantin doing it as a hasty decision or is it rational. I loved how it this production it's obvious that his suicide is not an act of mementum madness - he is both preparing for it and prepared.
I was prepared for it practically the minute he walked on stage. It was the two hours of utter tedium in between that almost made me weep. And no, unfortunately I missed SRB's take on it. I think it's possible Chekhov just isn't for me. Uncle Vanya has never really grabbed me either. (Though I did like Amanda Hale very much in the otherwise weak St James' version.) I'll see how I fare with Ivanov and Platonov though. Got the tickets, might as well give it a chance!
Well.. Chekhov is like that. There's always a gunshot to look forward to and it's easy to calculate the victum. For me it's more about the smaller things in the relationships that really get under my skin and make me think. Or feel. Or both if production is good.
Just out of curiousity - have you seen the recent Days & Night film as a sort of re-imagined The Seagull with Mark Rylance and Ben Whishaw? I fell in love with it at instant even though I know I migh be in the minority as it was a big BO flop..
Anyway, hope you'll enjoy the other two! Looking forward to your feedback
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Post by Deleted on Aug 22, 2016 19:51:40 GMT
My review of Ivanov: only slightly better than The Seagull.
*yawns* *cries*
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Post by rumbledoll on Aug 22, 2016 23:16:03 GMT
Sorry to hear that, jean.. I guess you either relate to it or you don't.. I felt so strongly and emotionally about all three (esp Seagull and Ivanov), but I can't explain exactly what you are missing - it's just there waiting to be discovered. Or not.
Gonna give Platonov a try?
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Post by Deleted on Aug 23, 2016 8:22:25 GMT
In for a penny, in for a pound, rumbledoll - so I'll be there on Thursday, daring Platonov to complete the boredom hat-trick. ;-)
To be fair, I did enjoy Ivanov more than The Seagull. I thought Streatfeild's performance really went up a notch when he had something to actually work with (the angry scenes with the doctor and with Anna, the bit where Sasha throws herself at Ivanov). And Peter Egan was brilliant again. The supporting characters were very funny. The doctor was fascinating. I would have given anything to see more of Nina Sosanya's character.
But yet again we had that whole central borefest of 'my life is so terrible, I don't know what to do, oh it's so agonising, don't even talk to me because you might for a moment relieve the sheer tedium of my terrible life - and did I mention what a terrible thing life is?' Aarghhh!! Go and try being a serf, mate!!
There was one point where Sasha said to her Dad, 'You don't know what I've been through!' and I was vividly reminded of watching young, beautiful, vital Gina Beck in that Jacques Brel show, coming out on stage and singing the umpteenth song about how sad and old her character was and how it would be better to die. And I just wanted to laugh. I mean, come on Sasha, you put the tin lid on a failing marriage and ensured a sad and lonely woman died an even sadder and lonelier death. But do, please, tell me again what you've been through...
It was interesting to hear 'superfluous man' mentioned. It popped into my head as a concept as I was watching The Seagull, but I didn't think the period was quite right for it. But one of our Russian number can let us know about that, I'm sure! All I know is I had way more fun reading about Lermontov's Pechorin than watching any of this lot. At least he had the good grace to have a couple of interesting adventures along the way...
On the way back up the road to the station, a couple in front were having a heated discussion about whether that line (you know the one, I don't want to type it) meant Ivanov was a complete rotter or just really, really peeved. And it felt more involving than most of what I'd just seen on stage!
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Post by Jan on Aug 23, 2016 8:49:28 GMT
One thing common to millionaire Sir David Hare's versions of these plays is that every rich character is loathsome and without any redeeming features, it is not so clear cut in Chekhov's versions.
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Post by rumbledoll on Aug 23, 2016 14:02:41 GMT
Jean, I wonder what would happen if you decided to do three play day lol) They might have driven you to the point that you'd rather get your gun loaded than continue ))
I understand what you are talking about.. Sometimes I think Chekhovian charaters kill themselves just out of boredom.. It could seem they do not know the REAL suffering. As for Ivanov I do believe in this days and age he would be diagnosed with mild (or majoy) depressive disodrer.. and Streadfeild's performance made me feel sympathy towards him. Anna obviously is a victim, a cusualty, and I thought Sasha was less likable than in the book but I enjoyed Olivia playing her with dominant tone as she drugged Nikolay into the relationship he never intended to have.
Yes, "superfluous man" was more related to the middle 19th century literature.
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Post by Deleted on Aug 23, 2016 18:35:17 GMT
Ha ha, I'm not sure I'd need to load a gun - I think my pulse might just stop from the overdose of boredom!
Yes you're right, of course, these days Ivanov would be diagnosed with some type of depressive disorder. And I did try to care about him on that level. When Streatfeild addressed the audience directly I felt a better connection with what Ivanov might be experiencing. But the sense of dramatic inertia was just too strong in the many repetitive conversations with other characters.
Maybe I should take Jan Brock's advice and see an original Chekhov. Mind you, I'll need a year or two to boost my Russian skills first! ;-)
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Post by Latecomer on Aug 23, 2016 19:17:30 GMT
Ok Jean, compare notes later. I'm doing the all three on one day... Are you going 3rd Sept? Peggs and I are also there! Would be lovely to meet the legend that is Lynette at some point!
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Post by rumbledoll on Aug 23, 2016 19:22:14 GMT
Ha ha, I'm not sure I'd need to load a gun - I think my pulse might just stop from the overdose of boredom! Yes you're right, of course, these days Ivanov would be diagnosed with some type of depressive disorder. And I did try to care about him on that level. When Streatfeild addressed the audience directly I felt a better connection with what Ivanov might be experiencing. But the sense of dramatic inertia was just too strong in the many repetitive conversations with other characters. Maybe I should take Jan Brock's advice and see an original Chekhov. Mind you, I'll need a year or two to boost my Russian skills first! ;-)
No, you really shouldn't. You won't believe how gloomy it is staged here.. I mean no humour WHATSOEVER - just 'drama-drama can't you see it's high DRAMA'. But people here tend to like it for the reason I cannot explain. And if you will hear a person laughing during it you'd be told to shut up. Happened to me once (is wasn't Chekhov, 1900 in fact which is a tragic comedy for god's sake and it WAS funny!)
I love British productions of Russian classics (same with Three Days in The Country last year) that they try to bring up all the humour and at least give a bit of comic relief. As intentse as Ivanov is some scenes there are pure farce and I like it better that way.
I agree that Hamlet-like monologue Geoffrey gives front stage really benefits from him making eye contact with audience members. One line also is stuck in my head and just wouldn’t go away. Remember, in the heat of argument with an uninvited guest when he’s being accused of a race for the money and considering Anna’s fail to provide it he’s said to be in pursue of Sasha and her *possibly* generous dowry.. the look of disbelief on Ivanov’s face when he turns around and almost with the chuckle he replies: do you REALLY think human beings are THAT simple? I just wanted to say back to him: Oh, my poor dear Nikolay Alekseevich. Some people really are so simple you would not believe... Point is I can relate to a lot of things Chekhovian charaters are saying but I agree it's sometimes repetetive especially across Ivanov & Platonov.
Good luck with boosting your Russian! I admire you - must be hell (I do realise it's a very diffucult language to learn). Do you mind me asking is it for business purposes or just sport?
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Post by Deleted on Aug 23, 2016 22:43:56 GMT
Ha ha, I'm not sure I'd need to load a gun - I think my pulse might just stop from the overdose of boredom! Yes you're right, of course, these days Ivanov would be diagnosed with some type of depressive disorder. And I did try to care about him on that level. When Streatfeild addressed the audience directly I felt a better connection with what Ivanov might be experiencing. But the sense of dramatic inertia was just too strong in the many repetitive conversations with other characters. Maybe I should take Jan Brock's advice and see an original Chekhov. Mind you, I'll need a year or two to boost my Russian skills first! ;-)
Good luck with boosting your Russian! I admire you - must be hell (I do realise it's a very diffucult language to learn). Do you mind me asking is it for business purposes or just sport?
I did a languages degree and Russian was one of the languages - but I haven't used it in 18 years so I've forgotten it all, sadly (apart from, bizarrely, the first four lines of a Pushkin poem that begins 'Ya vas liubil'). We cheated and read the literature in translation at uni, though. I think I'd still be piecing together the Dostoevsky now if we'd read it in the original! On the evidence, I reckon I'm more of a Gogol person than a Chekhov person.
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Post by n1david on Aug 24, 2016 10:22:44 GMT
I attended the three-show day last Saturday. Seeing all three in a day was certainly a “theatrical event”, in terms of bums-on-seats marathon, but I wasn’t convinced that there I appreciated was the synergy between the plays that the NT or Chichester intended. It was a very different theatrical event from, say, The James Plays or The Coast of Utopia (which were obviously designed to be seen as parts of a whole). Platonov made for a suitable starter, largely thanks to the superb (broad) acting of James McArdle. It’s all a bit chaotic, not surprising given the play’s origins, and the opening introduction scene drags for what seems like forever (“oh hello, let me just summarise who you are, your connection to the people already here and your key character traits”)… but ultimately I was won over. Won over I was not by Ivanov. I can only agree with jeanhunt’s assessment above – I could not get on with any of these lead characters. I felt very sorry for Ivanov who I agree was suffering from what we would call depression today, and it was even more misunderstood then than now. I can appreciate Streatfeild’s acting, but every time he came to the fore my heart sank as he just wasn’t a character I wanted to spend time with. The party scenes were broadly filled with grotesques but ultimately at the heart of the play was this void of a man, and I spent rather a lot of the play willing it to its inevitable conclusion. The Seagull is obviously the most “finished” of the works, having more evolved characters and a more sophisticated plot. This is impeccably acted – Anna Chancellor is a marvellous diva but without becoming a caricature, Peter Egan is excellent (as he is in Ivanov), but after several hours of angst I was left less than moved by the ending, and this is where I felt the three-show day ended up less than the sum of its parts. Kudos to the cast which was excellent – would have loved to have seen more of Nina Sosanya who was luminous in Ivanov and perfect in Platonov; James McArdle shows his adaptability perfectly in the first two plays (even if the latter part is possibly one of the most thankless ever written). Streatfeild too shows his acting chops in turning his life around before The Seagull… Oh, and Des McAleer deserves credit for being unpleasant in an interesting variety of ways… So… Glad I saw it, remain unconvinced by the marathon but pleased to have seen such quality of acting although it felt a bit like a Chekhov seminar than three plays constructed for enjoyment. Did prompt me to book for Wild Honey at the Hampstead though – I’ve seen it before, years ago, but will look at it with new eyes after this Platonov. Terrace special menu was perfectly timed and executed for the gap between Ivanov and The Seagull…
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Post by lynette on Aug 24, 2016 12:50:37 GMT
Nice review n1, thanks. I'm seeing this lot soon. I'm delighted that it ain't going to be like The James Plays because I, alone in this universe, think they were seriously overrated.
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Post by Deleted on Aug 25, 2016 20:08:45 GMT
FINALLY! A Chekhov play I've enjoyed. I feel like jumping on stage and hugging Platonov. (I am close enough to the stage to do this.)
Anyone else sat front stalls for this? The water on stage could smell fresher, I must say...
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Post by n1david on Aug 25, 2016 20:40:24 GMT
Anyone else sat front stalls for this? The water on stage could smell fresher, I must say... Given that the front row got splattered in Ivanov, be grateful you weren't sitting there for that as it may only have added to your discomfort...
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Post by rumbledoll on Aug 25, 2016 21:10:53 GMT
Alas, Jean! So glad to hear that! I was front stalls for all three and it started smelling even in early August.. I fear for the those who'll be front row at the final performance in October...
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Post by Deleted on Aug 26, 2016 11:57:57 GMT
Platonov is clearly the one of the three they're playing for laughs. I had no prior knowledge of this play, so I have no idea whether they have served it up within the bounds of acceptability or if they went totally over the top for laughs. But I don't much care either way, it's the only one of the three I can honestly say I enjoyed. And not just for the comedy - it felt like Platonov's gripes were much more directed against the world in general (which is easier to relate to) than inward-looking, as with the tortured characters in The Seagull and Ivanov.
It is arguably more the women's tragedy, of course. My main gripe would be that in the final moments, it was almost impossible to see the central tableau because of the blocking - very tall actor standing in front of the log somewhat hampered my view (and thereby the emotion) of the ending.
Had to giggle at an older gentleman standing nearby at the interval, grumbling to his wife, "I don't know what all those women see in Platonov." I could have supplied plenty of helpful suggestions!
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