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Post by Rory on Jul 11, 2017 8:48:24 GMT
Is there any update on the WE transfer for this? Baz first mentioned it back in mid May. Karl Sydow and Out of Joint co-producing with the NT.
The Aldwych, Playhouse and Duke of York's will all be free by 2nd September. Personally, I'd love to see this, Ink and Gloria all transfer and have a bumper Autumn of new writing in the West End.
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Post by Rory on Mar 7, 2018 0:08:17 GMT
Hurrah! Harold Pinter Theatre 29th May - 25th August apparently.
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Post by alnoor on Mar 7, 2018 6:33:35 GMT
With those dates, Ben Chaplin will not be in as he will be at the Old Vic
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Post by Mark on Mar 7, 2018 11:34:33 GMT
Missed this at the National so glad to read it is getting a transfer.
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Post by jadnoop on Mar 8, 2018 16:53:01 GMT
Harold Pinter Theatre dates are:
18 May - 8 August
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Post by stefy69 on Mar 9, 2018 10:58:44 GMT
Harold Pinter Theatre dates are: 18 May - 8 August Does anyone know when tickets will go on sale for this please ?
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Post by Rory on Mar 9, 2018 12:19:48 GMT
Harold Pinter Theatre dates are: 18 May - 8 August Does anyone know when tickets will go on sale for this please ? I'd imagine within the next 2 weeks. The updated dates appear to be: Fri 18th May - Sat 25th August
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Post by ensembleswings on Mar 10, 2018 15:43:09 GMT
Didn't get the chance to see this at the National so I'm glad it's getting a transfer, one of a few shows I'm annoyed at myself for missing. Will be booking tickets for some point during the run
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Post by andrew on Mar 11, 2018 14:05:13 GMT
Interesting. I liked it, but not enough to go again. I quite like the pattern of the Dorfman breeding lots of West End transfers. Whilst I wouldn't want to peg it as an 'experimental space', if you put stuff there that may not appeal to a lot of people and then cream the best off for commercial revenue generating runs, it becomes quite a nice business case. And it's good creatively, too.
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Post by david on Mar 11, 2018 19:42:10 GMT
I would have to agree with Andrew’s assessment. Nice production with some intresting ideas, but it wouldn’t be on my list of things I would want to revisit, but its going out to a wider audience has to be welcomed and hopefully it will get a warm reception by theatre goers who missed it at the NT.
From doing the NT tour last year, I seemed to get the impression that like Andrew stated that it a bit more of an “experimental” space for those less mainstream productions and new material would get a chance in the larger NT theatres. With CONSENT and BEGINNING finding a life outside the NT hopefully this will encourage the NT to put more stuff out into the wider theatre world.
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Post by Rory on Mar 12, 2018 12:53:13 GMT
Tickets on general sale at 10am this Thursday.
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Post by ensembleswings on Mar 12, 2018 13:47:21 GMT
If you have an ATG card tickets are on sale now
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Post by Phantom of London on Mar 12, 2018 16:18:09 GMT
Couldn’t see this being a strong seller, may end up on a certain app, for a real bargain.
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Post by Jon on Mar 12, 2018 21:54:09 GMT
It’s interesting that the National are coproducing Consent with Sonia Friedman rather than solely producing, I’m guessing that it’s less risky to partner than go it alone.
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Post by Rory on Mar 12, 2018 22:22:45 GMT
Sonia Friedman rarely transfers from the National. I can only think of Noises Off and Jumpers years ago and more recently, Our Ladies of Perpetual Succour.
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Post by Jon on Mar 12, 2018 23:08:36 GMT
Sonia Friedman rarely transfers from the National. I can only think of Noises Off and Jumpers years ago and more recently, Our Ladies of Perpetual Succour. Our Ladies doesn't count as it originated from the National Theatre of Scotland, Three Days in the Country was done in association with Sonia Friedman at the National so they have worked together
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Post by andrew on Mar 13, 2018 10:23:09 GMT
It’s interesting that the National are coproducing Consent with Sonia Friedman rather than solely producing, I’m guessing that it’s less risky to partner than go it alone. I'm sure I read in Hytner's book somewhere that they'd moved away from letting commercial producers get their hands on NT plays for transfer because that way the Nash got to keep all the money for themselves. Maybe when there's less confidence in the play they hedge their bets?
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Post by Rory on Mar 13, 2018 14:36:31 GMT
During Hytner's tenure, only the absolute banker bet juggernauts transferred - War Horse, Curious Incident and One Man Two Guvnors. These were always going to be popular and the NT rightly wanted the spoils. The only "lowkey" transfers under Hytner were Democracy to Wyndhams and Alan Bennett's Untold Stories to the Duchess.
There is now maybe a move to letting commercial producers give a further life to those smaller Dorfman shows that are not obvious commercial blockbusters. And that's a good thing.
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Post by Jon on Mar 13, 2018 20:33:56 GMT
It’s interesting that the National are coproducing Consent with Sonia Friedman rather than solely producing, I’m guessing that it’s less risky to partner than go it alone. I'm sure I read in Hytner's book somewhere that they'd moved away from letting commercial producers get their hands on NT plays for transfer because that way the Nash got to keep all the money for themselves. Maybe when there's less confidence in the play they hedge their bets? Oslo was a NT production in association with ATG but the run at the Lyttelton was essentially a dry run for the West End production. Sonia Friedman is known for wanting to give a further life to riskier subsidised productions, The Nether is a good example so it wouldn't surprise me if she approached the NT about giving Consent a further life. Sonia Friedman is also involved with The Jungle as well. The National I do think got arrogant with the success of War Horse, One Man Two Guvnors and Curious Incident and it cost them dearly when they transferred Great Britain to the TRH, I think this is why they've been more selective transferring shows and I think Norris unlike Hytner is more open with working with the commercial producers.
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Post by Snciole on Mar 14, 2018 8:36:20 GMT
It is clear in Balancing Acts that Hytner was mortified by how badly the Great Britain transfer did. It just wasn't a good enough and crucially topical play by the time it went to cavernous TRH.
I hate to hate on Norris but I think the issue is that he isn't good at recognising what has a strong NT shelf life let alone strong commercial work but then again I think Hytner got lucky with a few long term transfers.
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Post by bob2010 on May 18, 2018 8:34:32 GMT
£20 day seats available on Todaytix
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Post by Deleted on May 19, 2018 7:25:37 GMT
It sold out at the Dorfman, and does appeal to a certain demographic, I think. Agree it may find it harder to fill the much bigger venue. I know I won't be seeing it again, as I didn't like it first time. I suppose it might sell because it sounds as though it chimes with the #metoo movement. I really didn't like it either. I'm tempted to see it again to work out why everybody else gave it a standing ovation, but it probably isn't worth forking out good money for that purpose.
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Post by ensembleswings on May 19, 2018 16:55:08 GMT
Glad to see they're doing rush/dayseats, I missed the play last time and want to see it for myself but those prices were putting me off slightly.
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Post by wickedgrin on May 22, 2018 9:59:27 GMT
I was disappointed with this. I saw the first preview on Monday night at the Harold Pinter from the front row thanks to a £20 seat from Today Tix. (Perhaps a mod should add the Harold Pinter to the title of the thread?)
The stage is high but as there is no set - you don't miss anything and you get a lovely view of the lighting department from (the now defunct BHS).
I expected this to be a drama about what constitutes consent for sex, but the main legal drama played out briefly was very slightly done. If this play had been written by a man I suspect it would have been heavily criticised for being so dismissive of its main theme.
What we were left with was a bunch of unlikeable middle class people sitting around drinking, smoking weed, shouting, swearing and being unfaithful. I think performed almost entirely by a new cast (apart from Adam James) lead by Stephen Campbell Moore as Edward and Claudie Blakley as Kitty they were all "acting" for all they were worth. Lots of sinking to knees crying and jumping on furniture - to claim the high moral ground!
The black box set did not help the actors as the locations and time frames were unclear, so they seemed to be acting in a void.
Value for money from a £20 rush ticket if you have nothing better to do for an evening but you wouldn't miss anything if you gave it a miss. Mediocre play rather over acted.
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Post by nash16 on May 22, 2018 11:25:02 GMT
I was disappointed with this. I saw the first preview on Monday night at the Harold Pinter from the front row thanks to a £20 seat from Today Tix. (Perhaps a mod should add the Harold Pinter to the title of the thread?) The stage is high but as there is no set - you don't miss anything and you get a lovely view of the lighting department from (the now defunct BHS). I expected this to be a drama about what constitutes consent for sex, but the main legal drama played out briefly was very slightly done. If this play had been written by a man I suspect it would have been heavily criticised for being so dismissive of its main theme. What we were left with was a bunch of unlikeable middle class people sitting around drinking, smoking weed, shouting, swearing and being unfaithful. I think performed almost entirely by a new cast (apart from Adam James) lead by Stephen Campbell Moore as Edward and Claudie Blakley as Kitty they were all "acting" for all they were worth. Lots of sinking to knees crying and jumping on furniture - to claim the high moral ground! The black box set did not help the actors as the locations and time frames were unclear, so they seemed to be acting in a void. Value for money from a £20 rush ticket if you have nothing better to do for an evening but you wouldn't miss anything if you gave it a miss. Mediocre play rather over acted. Have to agree, and even though there was less "acting" in the Dorfman version, the whole play was still very slight. Are we really expected to care or want to spend any time with these people? I didn't give two hoots about any of the characters and the "drama" was non existent. The advertising campaign for this on the tubes is very misleading too. Playing into the #metoo but going hardly anywhere near that in the play itself. The New York Times quote on the poster is hilarious! It bears no relation to how dull the play is. When I'm bored at the theatre I count the lights in the lighting rig. The BHS ones, as you point out, aided the passing of time on this one. How it got a transfer........? (Although I reckon they're thinking they can get the 30's/40's crowd that went to see the transfer of Beginning. This is very much a lesser play though.
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Post by nash16 on May 22, 2018 11:26:52 GMT
Ps found the tube poster quote:
"The most blistering new play of the year" NYTimes
😂😂😂😂😂😂😂
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Post by Deleted on May 22, 2018 12:02:36 GMT
Roger Michell and his designer Hildegard Bechtler could probably have come up with two different ideas for this and Mood Music; unless my memory has abandoned me completely in Consent there are multiple light shades suspended from the ceiling - and in Mood Music it is all manner of microphones suspended from the ceiling. A bit weak if you ask me.
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Post by lonlad on May 22, 2018 16:13:49 GMT
This is superior in every possible way to BEGINNING - and the less said about the execrable MOOD MUSIC the better ---- the walkouts at the half said it all.
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Post by oldstager on May 22, 2018 23:03:48 GMT
Beautifully acted by the entire cast and direction and design are terrific too. I hope this finds its audience which may be wider than some think. Tonight there was a good mix of ages and nationalities in a fairly full house which augurs well. Strong word of mouth should ensure a very successful season. An evening of real "quality".
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Post by Phantom of London on May 25, 2018 22:36:27 GMT
Saw this tonight, for the second time after catching this at the National.
Similar play to Frozen and the Writer, by which I mean were written by ladies, a man could never write those plays.
This was acted was much better than the Dorfman, to hit the nail on the head, I could also reference Mood Music.
As pointed out earlier the roles are very unlikeable in an uncomfortable and linear play, that is very enjoyable and has some great one-liners to boot, however laugh and moments and rape shouldn’t belong together, but oddly it works well here.
4 Stars
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