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Post by princeton on Jul 22, 2018 16:59:01 GMT
No - you're quite right. It ran at Theatr Clwyd 25 June-14 July - which is where lots of the national critics reviewed it. It begins previewing at the National on Tuesday 24 July (I'm there the following evening) with a London press night scheduled for 31 July - although as noted most of main newspapers have already covered it.
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Post by Deleted on Jul 22, 2018 18:16:34 GMT
alece10 Where have you been? This opened about a week ago to rave reviews. I don't know about history in the making, but you are going to see a hit show. Oh right I must have been mistaken. Just that the NT website says from 24th July. I know it has had a run outside of London but I was referring to the London run. And as for the times reviews I seldom agree with them as they alsways give shows I like 2 stars so on the basis they have given this 5 stars probably means I won't like it 😁 Yes, you're right. My mistake. There's a press night on 31st July - although with the show being sold out you wonder why they need one...
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Post by jadnoop on Jul 23, 2018 8:24:39 GMT
Oh right I must have been mistaken. Just that the NT website says from 24th July. I know it has had a run outside of London but I was referring to the London run. And as for the times reviews I seldom agree with them as they alsways give shows I like 2 stars so on the basis they have given this 5 stars probably means I won't like it 😁 Yes, you're right. My mistake. There's a press night on 31st July - although with the show being sold out you wonder why they need one... Just in case anyone is coming to this thread late; currently the shows aren't sold out. Every date is showing as limited availability with that simple one word promo code that mentioned on the previous page.
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Post by CG on the loose on Jul 23, 2018 18:12:25 GMT
Thank you - missed the earlier discussion of the code and thought I'd missed the boat on tickets. Happily booked now
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Post by synchrony on Jul 24, 2018 9:52:41 GMT
Thank you so much for the code discussion! I'm going to see this with my Fi to learn some tips for our future marriage ;-)
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Post by lynette on Jul 24, 2018 16:12:22 GMT
Thank you so much for the code discussion! I'm going to see this with my Fi to learn some tips for our future marriage ;-) Do share.
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Post by showgirl on Jul 24, 2018 18:10:25 GMT
Crumbs, given the subject I hope it doesn't lead you to call it off!
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Post by Phantom of London on Jul 24, 2018 20:35:03 GMT
If I remember my maths at school, which I excelled at, think the proven formula was/is.
Strong Sales (Sold Out) x Great Reviews = West End Transfer.
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Post by crowblack on Jul 24, 2018 20:54:48 GMT
Strong Sales (Sold Out) x Great Reviews = West End Transfer. Could well do - it was written for Katherine Parkinson so it would have to be with her though.
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Post by stefy69 on Jul 25, 2018 5:53:23 GMT
If I remember my maths at school, which I excelled at, think the proven formula was/is. Strong Sales (Sold Out) x Great Reviews = West End Transfer. I'm crossing everything I can for that !
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Post by alece10 on Jul 25, 2018 7:15:01 GMT
Some of you will know that I am more of a musical than a play person so to see a play it has to have something to pull me in. Two weeks ago it was because it was an Alan Bennett play and last night because Katherine Parkinson was in it. Well I am happy to report that I thoroughly enjoyed Home, I'm Darling. All I knew about it in advance was that it had something to do with the 50s and that Katherine wore lovely frocks so the plot was quite a surprise to me. Very funny in parts but also thought provoking. Set was beautiful and so authentic with great use of the actors and music for the scene changes. All the cast were excellent but especially Sian Thomas who plays the mother and has a wonderful speech in Act 2 talking about the 50s. But its really Katherine Parkinson's show and she really was brilliant.
Really recommend it which probably means that no one else will like it.
Oh and they seem to have shaved about 15 minutes off it since Wales as it came in at about 2hrs 30mins.
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Post by kathryn on Jul 25, 2018 7:24:31 GMT
You have all persuaded me to book for this. In row B pit, which is marked restricted view - but more or less everything left is restricted in some way! Can anyone comment on how restricted it is?
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Post by alece10 on Jul 25, 2018 8:54:37 GMT
You have all persuaded me to book for this. In row B pit, which is marked restricted view - but more or less everything left is restricted in some way! Can anyone comment on how restricted it is? I was in row E of the pit dead centre so had perfect view. Can't think what the restrictions would be in row B. Would have thought more restrictions with the side gallery seats as the pit faces stage and I don't remember the stage being that high. Just had a thought maybe you will miss what happens upstairs in the house as you will be close to the stage and might not be able to see up there too well but very little takes place up there and most of scenes are played out in kitchen and lounge.
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Post by crowblack on Jul 25, 2018 9:17:42 GMT
you will miss what happens upstairs Yes - I saw it at Theatre Clwyd where the front row was £10 and prices increased till fourth row (the rows very raked), which was full price. You'll probably miss some walking around upstairs but nothing important.
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Post by kathryn on Jul 25, 2018 10:14:57 GMT
Thanks guys!
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Post by stuartmcd on Jul 25, 2018 18:30:09 GMT
Managed to get a ticket for Saturday afternoon last night night. Very much looking forward to it.
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Post by Deleted on Jul 25, 2018 23:46:17 GMT
For me this is yet ANOTHER
Case of good actor in sh*t play
It’s not a car crash
But for me it’s over long The tone is weird Not really comedy nor really drama
The dialogue is poorly written
And the whole falls far short of the sum of its potential parts
Then again
I think the lead actress is the draw
The reality of the playwright Is she had one successful play Over a decade ago it must be?
Tried milking it And failed With a poorly received film version
And hasn’t really done anything Worthy of any attention Until this piece
She just isn’t a very good writer
I stayed for the whole show And was indifferent Wouldn’t have missed anything major if I had left
Katherine Parkinson Does the same strained Facial expressions As she did In the last two shows I saw her in Grimacing like she is constipated
However Both the Terry Johnson And Ayckbourn
Are far far superior to this rubbish
For a domestic drama and exploration of relationships it felt superficial and really dated
The introduction of the #metoo Felt forced But is done as a plot point which also feels stupid and out of character
But this is never addressed properly
And comes more than 75% of the way into the play
It’s amazing that playwrights Can’t get basic plot and structure right
For me this play Is about as exciting And culturally important As an episode of Midsomer Murders
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Post by theatrelover123 on Jul 26, 2018 6:49:11 GMT
Was there last night and couldn’t disagree with your review more, parsley. As ever
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Post by Deleted on Jul 26, 2018 9:25:09 GMT
Thanks for your review, @parsley. While I am looking forward to seeing this, I have found the reviews in the national papers and on here a bit mystifying: nobody responds in a way that suggests a Five star production - it all feels a bit lukewarm and the focus of the play isn’t very clearly conveyed. People don’t say, for example, that it was incredibly moving or extremely funny. Parsley’s is one of the few write ups that contains an impassioned response.
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Post by Deleted on Jul 26, 2018 10:22:25 GMT
I didn’t feel
That any of the characters had any intelligence
The Katherine Parkinson role Didn’t really behave like someone who had been to university
The manager of the estate agent Had apparently been to LSE Yet she was now working in property sales (management)
The roles were not written like real people or adults
Did the play raise some minor themes?
Yes it skirted over gender roles And marriage in the most generic sense of the meaning
But the plot is so clumsy And the characters so unconvincing
Although Sian Thomas is an excellent actress She is lumbered with a massive stereotype Of a feminist mother It’s positively cringeworthy
Lightweight plays can be funny and relevant
Look at Nine Night
And looking back into the past
Jumpy was a comedy drama about family But it was really a good engaging play
This isn’t a disaster by any means
But for me it’s 3 star material
And again if you compare this to a TV show Like Big Little Lies Or even Good Girls
The writing appears anaemic and flimsy
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Post by Deleted on Jul 26, 2018 10:27:02 GMT
Thanks for your review, @parsley. While I am looking forward to seeing this, I have found the reviews in the national papers and on here a bit mystifying: nobody responds in a way that suggests a Five star production - it all feels a bit lukewarm and the focus of the play isn’t very clearly conveyed. People don’t say, for example, that it was incredibly moving or extremely funny. Parsley’s is one of the few write ups that contains an impassioned response. It’s not funny at all There is some mild comedy here and there There were a few scenes which are well acted and therefore were moving But this was due to KP amazing talent The dialogue is pedestrian at best I was never convinced The two leads had a meaningful marriage Even in the past The other couple We’re also weird and didn’t fit into some of the scenes And that incessant pathetic dancing Between scene changes So annoying and forced I also found the set quite wanting The house is tiny About 5-6 rooms Even accounting for a few we might not be able to see So I am not sure how or why it takes The lead a full time role To clean such a tiny house Ridiculous
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Post by stefy69 on Jul 26, 2018 10:35:15 GMT
Thanks for your review, @parsley . While I am looking forward to seeing this, I have found the reviews in the national papers and on here a bit mystifying: nobody responds in a way that suggests a Five star production - it all feels a bit lukewarm and the focus of the play isn’t very clearly conveyed. People don’t say, for example, that it was incredibly moving or extremely funny. Parsley’s is one of the few write ups that contains an impassioned response. It’s not funny at all There is some mild comedy here and there There were a few scenes which are well acted and therefore were moving But this was due to KP amazing talent The dialogue is pedestrian at best I was never convinced The two leads had a meaningful marriage Even in the past The other couple We’re also weird and didn’t fit into some of the scenes And that incessant pathetic dancing Between scene changes So annoying and forced I also found the set quite wanting The house is tiny About 5-6 rooms Even accounting for a few we might not be able to see So I am not sure how or why it takes The lead a full time role To clean such a tiny house Ridiculous You obviously haven't witnessed how long it takes me to clean my house !
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Post by Deleted on Jul 26, 2018 10:36:20 GMT
To be honest, I think it speaks MOST for the play that parsley seems to have sat through the whole thing. Clearly it wasn't his jam in the end, but it must be doing *something* right if he stuck around after the interval. I know that might sound flip, but there it is.
Also Posh was 2010, so not quite "over a decade ago".
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Post by Phantom of London on Jul 26, 2018 11:16:53 GMT
I was there last night too.
I have to say I found the play to be enjoyable, I couldn't second guess how it was going to end up, the premise of the play may of been a bit on the tepid side of a woman leading an alter ego lifestyle, as set down by a manual about how to achieve domestic bliss in the 1950's. However to achieve the said lifestyle brings about debt, where the mortgage cannot be met and that lifestyle demands you remain a housewife.
Katherine Parkinson is worthy of a ticket alone, Sian Thomas is great and does a great impassioned plea of how terrible the 1950's was, for instance a husband had complete subjugation of his wife, that it was lawful for the husband to rape his wife and the wife had no grounds for a divorce. oddly enough I also loved Sara Gregory.
Okay this may not be Posh, which is one of the best play I have seen from this less than prolific playwright, but is still an valiant attempt and makes for a enjoyable evening.
Anyone going to revive Tribes, which I really want to see.
4 Stars.
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Post by addictedtotheatre on Jul 26, 2018 11:20:15 GMT
Was there last night and couldn’t disagree with your review more, parsley. As ever Agree with you on both points. I thought it witty and incisive and an enjoyable night out. 4 stars.
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Post by Deleted on Jul 26, 2018 11:25:02 GMT
Curb your enthusiasm
Is witty and incisive
Compared to this play
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Post by jadnoop on Jul 26, 2018 13:07:33 GMT
Curb Your Enthusiasm is witty and incisive compared to this play In another thread there was a discussion about how it can be difficult to gauge how one's taste compare with other commenters on messageboards like TB. I suspect that this is statement, about such an iconic and polarising show, means that most readers will immediately be able to gauge how your taste in comedy sits with theirs. For me, I've not seen Home, I'm Darling yet, but Curb is fantastic.
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Post by Deleted on Jul 26, 2018 15:56:02 GMT
What interests me is that people on here who have seen it say it was “enjoyable”. They don’t say they love it. I’m guessing that it’s a great production: beautiful set design, great leading actor etc. No one has said that this is a great play.
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Post by Mark on Jul 26, 2018 21:43:53 GMT
What interests me is that people on here who have seen it say it was “enjoyable”. They don’t say they love it. I’m guessing that it’s a great production: beautiful set design, great leading actor etc. No one has said that this is a great play. Saw it tonight and exactly that, it’s an enjoyable night out at the theatre, but it’s far from a great play. I’m actually going to agree with parsley in that I didn’t find the characters believable. The design is beautiful and Katherine Parkinson is really excellent. I sat in the side circle N 10 and actually had a pretty decent view, having to perch over slightly during the kitchen scenes. Good value though at £15.
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Post by Steve on Jul 26, 2018 22:05:20 GMT
What interests me is that people on here who have seen it say it was “enjoyable”. They don’t say they love it. I’m guessing that it’s a great production: beautiful set design, great leading actor etc. No one has said that this is a great play. Saw it tonight, and liked it very much. The reason I'd guess people don't say they "love" it, I expect (not having read the reviews, bar what's on here) is that the comedy-drama category is never hilarious enough to fulfil the genre needs of comedy fans (of which I am one), nor enough to fulfil the desires of drama fans, who want more of an emotive workout. Katherine Parkinson is perfect casting for this, as she has always had funny bones, and over the years has really taken huge strides dramatically. Some spoilers follow. . . She really gets her character here, someone who fetishes the 50s, and tries to live in the 50s, because her upbringing was so chaotic. The truth is this is a hugely high concept play, rooted in comparing the now with the then by creating an utterly unbelievable situation. And unlike what you would expect, it's not mugged up for laughs, as although it welcomes laughs when they come, it is a relationship drama at heart. Parkinson's character is difficult to sympathise with, since she chooses this fifties bed to lie in, but the miracle of Parkinson is that her hangdog persona wins sympathy and laughter despite, rather than because of the set-up. She is an expert at the comedy of slights, awkwardness, suffering bordering on masochism and slowly inflicted humiliations. Sian Thomas, as Parkinson's mother, has a gift of a role, because her job is to puncture Parkinson's fantasies by injecting heavy doses of reality. And Thomas takes that gift, and doubles it with her eye -rolling expertise. Make no mistake. None of this is anywhere near as funny as the Dorfman's previous "Nine Night," nor is it as dramatic. But what this production does do is pierce the lid of fifties mores with a precision that matches it's high concept, revealing plenty about the then and now, as well as functioning as a touching domestic drama about the quirks people develop, and how relationships survive them or not. Parkinson has a wonderful foyle in Richard Harrington, who plays her understanding but stressed out husband, in that he parries both her comedic as well as her sentimental moments rather effortlessly. So yes, this isn't electric, but it's rather fulfilling as a touching romantic drama, revealing people's foibles, amusing as a comedy, and utterly on point as a piece of high concept writing. 4 stars.
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