Post by showgirl on Feb 18, 2019 4:43:12 GMT
"Two’s Company return to Southwark Playhouse with the first production in over 20 years of James Saunders’ mesmerising comedy.
Why do people fall in love? Or get married? Why do things fall apart? And what happens next? Bodies is a startling portrait of sexual and marital relations in the 1960’s and 70’s and delves into these questions with bitter humour. One of a string of successes written by James Saunders with many premiering at Richmond’s Orange Tree, Bodies had a successful West End run in 1979."
OK, I've given up waiting for someone else to start this thread as though the new production in the main house has received lots of attention so far, this is now receiving glowing (4- and 5-star) reviews. I went to the Saturday matinee, immediately after PN but before any reviews had appeared - probably because this is the smaller space in an off-West-End venue - which turned out to be a bonus, as whilst I can't fault the performances and production, I did find the culmination of the second act rather trying as one of the 4 characters dominates the scene and for me, threw the play out of quilter as well as growing tedious to watch. However, all the reviewers, whilst praising all 4 actors, have singled this one out for his "tour de force" so it must just be me.
Anyway, certainly worth seeing and undeniably compelling, if uncomfortable at times. It's also fascinating to try to work out why this dramatist, who apparently was very popular in the 70's, has been overlooked since, whereas some of his contemporaries have remained in the public eye.
Why do people fall in love? Or get married? Why do things fall apart? And what happens next? Bodies is a startling portrait of sexual and marital relations in the 1960’s and 70’s and delves into these questions with bitter humour. One of a string of successes written by James Saunders with many premiering at Richmond’s Orange Tree, Bodies had a successful West End run in 1979."
OK, I've given up waiting for someone else to start this thread as though the new production in the main house has received lots of attention so far, this is now receiving glowing (4- and 5-star) reviews. I went to the Saturday matinee, immediately after PN but before any reviews had appeared - probably because this is the smaller space in an off-West-End venue - which turned out to be a bonus, as whilst I can't fault the performances and production, I did find the culmination of the second act rather trying as one of the 4 characters dominates the scene and for me, threw the play out of quilter as well as growing tedious to watch. However, all the reviewers, whilst praising all 4 actors, have singled this one out for his "tour de force" so it must just be me.
Anyway, certainly worth seeing and undeniably compelling, if uncomfortable at times. It's also fascinating to try to work out why this dramatist, who apparently was very popular in the 70's, has been overlooked since, whereas some of his contemporaries have remained in the public eye.
) years after the original production - and I have to say my reactions had barely changed in the intervening years. In fact during the rather sluggish scene-setting first half my interest perked up at a couple of specific moments and I realised the same thing had happened at exactly those same moments the first time round. The second half picks up considerably (although I still don't feel the "sub-plot" concerning a certain off-stage event is particularly well integrated) and the performances are indeed quite excellent, even if the lead character (and I can still vividly see/hear the late Dinsdale Landen in the role) is perhaps allowed to dominate rather too much, and if the discussion of one of the then-fashionable therapies is a little too generalised to really hit home? A play that doesn't quite come off the page sufficiently for me, at least compared to more vivid contemporary 70's plays such as those of Nicholl's, Pinter Stoppard etc - but certainly a very stylish production and a welcome chance to revisit the play. Wish I could have been there the night Sam Walters introduced and discussed it.
