I think some places feel like that already. I remember seeing a documentary where Mexican men stood on street corners in the small hours hoping a truck would pick them up for work that day. A 'blue collar' friend in Manchester tells me they now have that system here - if they want 6 men they'll call up 8 or 10, have them wait on street corners, and the ones first on the van route get the work. The others go home empty handed. And this isn't for some fly-by-night employer but a business you may have used.
I saw this in the week. I can understand why it got tremendous reviews - superbly acted, great direction (the bar fight was terrifying), authentic dialogue (as it should have been of course, given the amount of research undertaken) and both relevant and timeless, I can imagine it being revived well into the future. I enjoyed the evening and was pleased to have seen it. And yet ... it was a touch predictable and for me it didn't have that spark of originality and extra something to make me love it as much as say Gloria or An Octoroon.
Post by youngoffender on Jan 20, 2019 18:59:52 GMT
I heard that Lynn Nottage's SWEAT had been generating great B.O. at the Donmar, so fortunately was able to get a standing ticket yesterday to immerse myself in it.
As others have said, one of the best nights at the theatre for some time - a really strong, nuanced script played with great conviction by the whole cast, and highly pertinent to what's happening in the US right now.
For all the authenticity everywhere else, it was a shame for the set to let the side down. It is vanishingly unlikely that a blue-collar Pennsylvanian bar would have Estrella on tap now, let alone back in 2000. Oh, and when one of the characters presents another with the Cher 'Believe' album as if it's the latest thing - that actually came out in '98.
For all the authenticity everywhere else, it was a shame for the set to let the side down. It is vanishingly unlikely that a blue-collar Pennsylvanian bar would have Estrella on tap now, let alone back in 2000.
And also, re: the set, that purely decorative, not-structural floor-to-ceiling iron girder obscuring the view of the stage from quite a lot of seats on one side of the house comes straight from the we-don't-give-a-sh*t-about-the-audience school of set design, and a less arrogant designer could easily have found a solution that provided the same visual cue without messing up the sightlines.
My guess is that this would look odd in a larger house. Ambassadors, perhaps, but it is partly that we are crowding around them which sells the play, I think.
Another thing is that it struggled on Broadway a few years ago so it might be the case apart from theatre and cast availability, producers would be nervous transferring it, selling out a 500-800 seat theatre is harder than selling out the Donmar,
not-structural floor-to-ceiling iron girder obscuring the view of the stage from quite a lot of seats on one side
I like the set but I did hear people complaining about the obstructed view from there too.
Yes, I forgot to mention that. We were in the two stalls seats on the aisle in row C and that bl**dy girder got in the way at several key plot points. It’s another credit to the play that I forgot to mention it in my comments...