270 posts
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Post by littlesally on Feb 27, 2016 23:13:08 GMT
Is it straight through or two acts!
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2,809 posts
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Post by couldileaveyou on Feb 27, 2016 23:29:20 GMT
Straight through
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Post by Deleted on Feb 27, 2016 23:49:55 GMT
This was very well acted
But ultimately a massive case of style over substance
The sh*tty Trafalgar Studios are awful
And the play is repetitive and tedious
Also the staging was much better for the recent Broadway run (with a much more prestigious cast to be honest)
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Post by Honoured Guest on Feb 28, 2016 0:03:27 GMT
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1,187 posts
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Post by Steve on Feb 28, 2016 12:13:15 GMT
this production is VERY dark indeed as the hushed silences throughout last night's performance (and a packed house) made clear the production is no mere camp-fest (and not in any way shape or form at all reminiscent of Roald Dahl) --- quite the opposite. And also possibly the best MAIDS I have seen. Ionlad, we definitely had different audiences, as the chap in front of me laughed like a drain throughout. I agree that the play is very dark indeed, but my experience of this production is that it was a camp and entertaining rendering of that darkness. And I liked that about it. First, the constantly repeated use of the "c" word with a spirit of naughtiness and revelry suggests a translation that is primed for the boundary-breaking urges of camp; Second, the constant smiling and giggling and laughing by Uzo Aduba's Solange served as a surrogate to draw the audience into the play as an elaborately staged game, rather than as do-or-die drama; Third, the repeated addresses outward toward the audience on both sides, but mostly to the front-facing audience who payed more, suggests a desire to play outwards to the audience as much as to play inward to the drama; Fourth, the non-naturalistic gilded-chocolate-box-surrounded-by-flashing-lights stage design providing a sparkly fun frame to contain the darkness, serving to leaven and render harmless the soul of Genet's darkness. At yesterday's matinee of "A Girl is a half-formed thing" at the Young Vic, there was a moment when Aoife Duffin turns her abuses in self-hatred against herself, snarling "hit me in the face." That was far darker than the ladies rolling around in petals, calling each other the "c" word, playing dress-up sadomasochism at the Trafalgar. By contrast to this production, take a look at this short clip of Glenda Jackson's 1974 performance of Solange (preserved fortuitously for presentation on US television), and you will see how sick, twisted, intense and insular this show can feel: (This really makes me ache even more for an impossible-to-get Glenda Jackson Lear ticket lol!) Anyway, we're all different lol.
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Mar 1, 2016 10:53:46 GMT
Reminder that £15 Monday tickets for March are now on sale (I'd forgotten but just booked )
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1,465 posts
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Post by foxa on Mar 1, 2016 12:11:27 GMT
Thanks for the reminder!
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Post by Deleted on Mar 1, 2016 18:01:40 GMT
I managed to secure myself two tickets for next Monday's performance. I actually cannot for this now!
I'm definitely making a more concerted effort to see more plays this year alongside the musicals. I'm not sure whether it's because I'm broadening my horizons or simply a case that lots of plays that appeal to me have reared their heads.
Just a point of interest for anyone hoping to book on a £15 Monday, the tickets seemed to be released around 10:00 (yes I did check periodically!)
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4,038 posts
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Post by kathryn on Mar 1, 2016 18:12:30 GMT
Yes, they go on sale at 10am - queuing system was working from 9:30 ish this morning.
I got 2 for the 28th.
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1,465 posts
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Post by foxa on Mar 1, 2016 18:26:23 GMT
Me too! (thanks to Xanderl's reminder.) I think I'm in row D.
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36 posts
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Post by johnnyutah on Mar 2, 2016 22:52:31 GMT
I saw this last night and it's a singular experience. This is a bear pit masquerading as a couture show. The lacerating exchanges between Zawe Ashton and Uzo Aduba have a strikingly baroque quality. Tenderness and acute stabs of pain are undercut by an astonishing level of malevolence. The audience quickly becomes immersed in a pitch black battle of wills. Zawe Ashton gave an incendiary performance. She effortlessly switched from statuesque matriarch elegance to a gawky little sister with astonishing ease. Uzo Aduba's final monologue was equally volcanic. Solange's fractured psyche was revealed in all its glory. Please go and see this if you get the chance, theatre this vital, dangerous and strange doesn't come along too often.
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4,631 posts
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Post by Phantom of London on Mar 2, 2016 23:03:10 GMT
I read Michael Billington's 4 star review before I went in, for a heads up, in Caffe Nero, near by.
However viewing the play I thought I bet Quentin Letts of the Daily Mail will hate this and checked on my ipad on the way home and he gave it 1 star, so no surprise there, but the real surprise here is when I find myself siding with Quentin, his review was spot on.
The play tried to rip off the staging of the New Vic's A View From The Bridge, however that staging for Bridge just bottled up the emotional intensity of the piece, this was evident here, the play was plodding and therefore, very much third division. Annoying music was also channeled out into the very uncomfortable auditorium.
Sorry I don't understand all the love for Jamie Lloyd?
One star from Quentin and also from me.
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Post by Deleted on Mar 2, 2016 23:53:03 GMT
I must admit, none of the reviews exactly made me desperate to see this show, which I was already lukewarm about at best. Have decided to save my £15 for NT booking on Friday instead!
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1,177 posts
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Post by joem on Mar 12, 2016 1:44:08 GMT
The production doesn't do much to make the play more accessible and by going for some over-obvious laughs detracts from its seriousness. And mke no mistake: this is a serious play dealing with issues of identity, alienation and powerplay. If you find camp stuff automatically funny wel ok, I don't.
Acting is energetic but I do wonder if the first half isn't too energetic, it means the play is one-paced and makes its verbosity tedious. A more nuanced build-up to a crescendo of activity and then bringing it down to a slower climax is, I feel, the correct way to do this.
Genet was fond of sado-masochistic sex and he lets that permeate much of his work; no greater mystery here. He was also a great admirer and student of violence and that definitely also goes into his work.
The acting makes it worthwhile but as someone else said this is style over substance and is more of a historical record of what we found shocking than shocking in itself.
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367 posts
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Post by Ade on Mar 12, 2016 8:35:38 GMT
The production doesn't do much to make the play more accessible and by going for some over-obvious laughs detracts from its seriousness. And mke no mistake: this is a serious play dealing with issues of identity, alienation and powerplay. If you find camp stuff automatically funny wel ok, I don't. Acting is energetic but I do wonder if the first half isn't too energetic, it means the play is one-paced and makes its verbosity tedious. A more nuanced build-up to a crescendo of activity and then bringing it down to a slower climax is, I feel, the correct way to do this. Genet was fond of sado-masochistic sex and he lets that permeate much of his work; no greater mystery here. He was also a great admirer and student of violence and that definitely also goes into his work. The acting makes it worthwhile but as someone else said this is style over substance and is more of a historical record of what we found shocking than shocking in itself. Agree with much of this and saw it last night. While I think the performances are great (particularly Uzo Aduba) and liked the styling, I spent much of the time feeling like the direction just didn't match the subject matter. There was a broad Jamie Lloyd stroke of paint across proceedings that plastered over paying any real attention to the text. So in summary, I enjoyed it, the performances are brilliant and the visual design and sound production are great, but the latter two just don't feel like there was any consideration of the actual text.
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1,008 posts
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Post by talkstageytome on Mar 12, 2016 9:05:49 GMT
Oh dear. I've booked to see this in a months time and so far it's hardly been raved about. I am a fan of Jamie Lloyd so hopefully I'll enjoy this though.
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367 posts
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Post by Ade on Mar 12, 2016 9:17:22 GMT
Oh dear. I've booked to see this in a months time and so far it's hardly been raved about. I am a fan of Jamie Lloyd so hopefully I'll enjoy this though. Don't get me wrong, I still enjoyed it. As did the majority of the people in the auditorium, I would say.
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270 posts
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Post by littlesally on Mar 13, 2016 10:59:15 GMT
Saw this last night. Loved it. Impeccable performances from all three. Loved the staging (almost like watching an exhibit in a bell jar) and the sound design really added to the mood and helped maintain a feeling of unease throughout. The 2 hours (longer than usual?) flew by - even in those awful seats. Would have been upset if I'd had a stage seat as 80% or more was played to the main house. Highly recommended.
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5,269 posts
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Post by mrbarnaby on Mar 14, 2016 21:38:24 GMT
Has anyone bought a programme and does it say what the exit music was?
I saw it last week and really enjoyed it. Great sound design and all 3 actresses were very impressive.
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5,269 posts
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Post by mrbarnaby on Mar 14, 2016 21:40:26 GMT
Please translate into English... ) I saw this last night and it's a singular experience. This is a bear pit masquerading as a couture show. The lacerating exchanges between Zawe Ashton and Uzo Aduba have a strikingly baroque quality. Tenderness and acute stabs of pain are undercut by an astonishing level of malevolence. The audience quickly becomes immersed in a pitch black battle of wills. Zawe Ashton gave an incendiary performance. She effortlessly switched from statuesque matriarch elegance to a gawky little sister with astonishing ease. Uzo Aduba's final monologue was equally volcanic. Solange's fractured psyche was revealed in all its glory. Please go and see this if you get the chance, theatre this vital, dangerous and strange doesn't come along too often.
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1,103 posts
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Post by mallardo on Mar 15, 2016 6:55:45 GMT
Please translate into English... ) I saw this last night and it's a singular experience. This is a bear pit masquerading as a couture show. The lacerating exchanges between Zawe Ashton and Uzo Aduba have a strikingly baroque quality. Tenderness and acute stabs of pain are undercut by an astonishing level of malevolence. The audience quickly becomes immersed in a pitch black battle of wills. Zawe Ashton gave an incendiary performance. She effortlessly switched from statuesque matriarch elegance to a gawky little sister with astonishing ease. Uzo Aduba's final monologue was equally volcanic. Solange's fractured psyche was revealed in all its glory. Please go and see this if you get the chance, theatre this vital, dangerous and strange doesn't come along too often.
Mr. B, I'm surprised at you. Johnnyutah's review is extremely well written and extremely clear. What's your problem?
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5,269 posts
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Post by mrbarnaby on Mar 15, 2016 8:05:13 GMT
Twas joking my dear.. Loved the flowery language.. Please translate into English... )
Mr. B, I'm surprised at you. Johnnyutah's review is extremely well written and extremely clear. What's your problem?
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1,103 posts
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Post by mallardo on Mar 15, 2016 9:09:31 GMT
In that case, apologies!
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923 posts
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Post by Snciole on Mar 15, 2016 9:48:35 GMT
I found this really intense but I enjoyed the performances, I am not surprised the two leads are getting a couple of days off, it looks exhausting! The element of race really worked, I didn't realise until the Glenda Jackson clip above that it wasn't written for two black leads. The only thing that jarred, though it worked, was the modern setting. It felt like it should have been set in 1950/60s America and I was really disappointed Jamie Lloyd didn't change Clare's name to Beyoncé!
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Post by Deleted on Mar 15, 2016 10:33:46 GMT
Well I was mentally exhausted after this! It's very intense and highly stylised. It's like they were little dolls in a giant jewellery box. Some very funny bits as well.
Great performances though - I kept changing my mind throughout the play as to which one I preferred most. I think Zawe Ashton might have just shaded it though - she's fascinating to watch. Really liked Laura Carmichael too, even though she's only in one scene. She gets a terrific entrance and a great opportunity to show that she can play something so different to Lady Edith.
I'll bet they're sick of all that sweeping by the end of the run though.
Oh and if you're at all offended by the "c" word. Stay away. They say it a lot. I mean A LOT.
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Post by Deleted on Mar 22, 2016 10:57:41 GMT
Wow. This was powerful. The performances from all of the ladies were incredible, especially Zawe and Uzo. The set was very clever, and the whole thing I thought was thoroughly enjoyable.
I now look forward to Doctor Faustus even more!
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1,008 posts
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Post by talkstageytome on Apr 18, 2016 10:47:46 GMT
Hmm, late to the game but I saw this last week and I'm still not sure how I feel about it. On the one hand, it was a very powerful piece, and the acting was excellent, but on the other hand, the story felt muddled, repetitive and just a bit too long really. Plus the entrance of The Mistress and her scenes lifted the whole piece and introduced a new dynamic, and so it was a shame that she only had one scene. Hmm.
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Post by partytentdown on Apr 20, 2016 7:49:20 GMT
Don't suppose anyone would like 2 tickets for this, Weds 27th 7.30pm, £29.50 each or best offer, band C?
I bought them via Time Out so can email you the vouchers to exchange for the tickets at the box office.
Thanks!
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Post by partytentdown on Apr 23, 2016 19:52:38 GMT
Don't suppose anyone would like 2 tickets for this, Weds 27th 7.30pm, £29.50 each or best offer, band C? I bought them via Time Out so can email you the vouchers to exchange for the tickets at the box office. Thanks! Final plea, need to get rid of these so will accept offers!
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