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Post by couldileaveyou on Oct 4, 2022 10:08:58 GMT
Writer-Director Simon Stone reimagines Seneca’s famous tragedy in this striking new play.
Janet McTeer takes the title role, with Assaad Bouab making his UK stage debut.
From 1 February in our Lyttelton Theatre. Member booking from 11 October, public booking from midday Thursday 20 October
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6,318 posts
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Post by Jon on Oct 4, 2022 10:16:26 GMT
Janet McTeer is always good although I admit the only things I've seen her in was Les Liasons Dangereuses at the Donmar.
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367 posts
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Post by MrBunbury on Oct 4, 2022 10:58:14 GMT
If I am not wrong, Kristin Scott-Thomas was originally planning to be in Phaedra at the National before COVID-19.
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5,588 posts
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Post by lynette on Oct 4, 2022 14:43:18 GMT
Janet McTeer is always good although I admit the only things I've seen her in was Les Liasons Dangereuses at the Donmar. She was hampered by her co star not knowing his words.
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Post by tributary on Oct 4, 2022 14:56:37 GMT
Nice to have Simon Stone debut at the NT. I’ll certainly book. RuNo seems not to bring that sort of list in much: no Katie Mitchell since 2019, no Von Hove since 2017, no Icke since 2016, no McBurney or Deborah Warner at all.
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Post by Jan on Oct 4, 2022 15:34:09 GMT
Nice to have Simon Stone debut at the NT. I’ll certainly book. RuNo seems not to bring that sort of list in much: no Katie Mitchell since 2019, no Von Hove since 2017, no Icke since 2016, no McBurney or Deborah Warner at all. I believe he had some sort of a falling out with Stone a few years ago related to a previous proposed production. I forget the details. I agree the NT doesn’t seem to like these auteur directors, or maybe it is vice versa. At least they’re not as conservative as the RSC, when was the last time they used one of the directors on your list ? 1994 ?
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351 posts
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Post by cirque on Oct 4, 2022 17:45:28 GMT
Can you imagine a stone at RSC or any of the front line directors. Maybe new team will brave it Whyman still in shock Nothing particularly exciting for a few months Tempest May begin revival Long way to go but a little optimism
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77 posts
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Post by tributary on Oct 4, 2022 19:01:38 GMT
Can you imagine a stone at RSC or any of the front line directors. Maybe new team will brave it Whyman still in shock Nothing particularly exciting for a few months Tempest May begin revival Long way to go but a little optimism I can’t imagine that Director list would have any interest in Stratford, at least not now. But the RNT back in my day (showing my age: Richard Eyre was the supremo) had many visits from McBurney and Warner not to mention people like LePage. Exciting times. What it was producing thirty years ago is superior in every way bar diversity to what its producing now.
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Post by Jan on Oct 4, 2022 19:38:33 GMT
Can you imagine a stone at RSC or any of the front line directors. Maybe new team will brave it Whyman still in shock Nothing particularly exciting for a few months Tempest May begin revival Long way to go but a little optimism I can’t imagine that Director list would have any interest in Stratford, at least not now. But the RNT back in my day (showing my age: Richard Eyre was the supremo) had many visits from McBurney and Warner not to mention people like LePage. Exciting times. What it was producing thirty years ago is superior in every way bar diversity to what its producing now. I think some of them would work at the RSC if they were invited and given a free hand, after all they are freelances and the RSC has a huge budget. I conclude they haven’t been invited, or have fallen out with the company in the past. Much of the success of the RSC in the early days was due to Peter Brook who was in that same auteur mould - it’s a pity they became so conservative later on.
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2,812 posts
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Post by couldileaveyou on Feb 2, 2023 1:13:39 GMT
First preview cancelled
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177 posts
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Post by tal on Feb 2, 2023 23:29:27 GMT
This ran for about 3h15min today, if anyone is interested. Some scene changes took forever though, so it will probably be shorter in a few weeks.
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1,016 posts
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Post by andrew on Feb 3, 2023 12:48:21 GMT
This ran for about 3h15min today, if anyone is interested. Some scene changes took forever though, so it will probably be shorter in a few weeks. But is it any good?
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Post by londontg on Feb 3, 2023 14:07:08 GMT
I'm also curious to know whether this play is any good before I buy tickets. I really want to support the NT but their productions have been so hit and miss recently.
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309 posts
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Post by barrowside on Feb 3, 2023 16:36:17 GMT
Janet McTeer is always good although I admit the only things I've seen her in was Les Liasons Dangereuses at the Donmar. She was hampered by her co star not knowing his words. Oh dear - he did the same thing in My Fair Lady in Sheffield which was otherwise wonderful.
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177 posts
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Post by tal on Feb 3, 2023 17:21:59 GMT
I'm also curious to know whether this play is any good before I buy tickets. I really want to support the NT but their productions have been so hit and miss recently. If you're into large rotating sets inside glass boxes and waiting many minutes for each of many set changes, maybe you'll enjoy it. Many scenes were very funny, but I have the feeling that was not the intention of the production - lots of the text is overdramatic and pointless. Janet Mcteer is quite good, the rest of the cast I'm sure will get better. I don't want to be too mean as I'm sure it will improve after a few performances, and some things that bothered me will get better. But even then I do not think this is a good play.
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Post by londontg on Feb 3, 2023 18:52:12 GMT
I'm also curious to know whether this play is any good before I buy tickets. I really want to support the NT but their productions have been so hit and miss recently. If you're into large rotating sets inside glass boxes and waiting many minutes for each of many set changes, maybe you'll enjoy it. Many scenes were very funny, but I have the feeling that was not the intention of the production - lots of the text is overdramatic and pointless. Janet Mcteer is quite good, the rest of the cast I'm sure will get better. I don't want to be too mean as I'm sure it will improve after a few performances, and some things that bothered me will get better. But even then I do not think this is a good play. Oh dear, it does not sound too promising. Thanks for your account. I have no doubt Janet will put on a great performance, but I'm not much of a fan of the original myth to begin with...even then, I still had some hope this could be an interesting production. It will be interesting to read what the critics have to say on this one.
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5,278 posts
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Post by mrbarnaby on Feb 4, 2023 7:52:54 GMT
I'm also curious to know whether this play is any good before I buy tickets. I really want to support the NT but their productions have been so hit and miss recently. If you're into large rotating sets inside glass boxes and waiting many minutes for each of many set changes, maybe you'll enjoy it. Many scenes were very funny, but I have the feeling that was not the intention of the production - lots of the text is overdramatic and pointless. Janet Mcteer is quite good, the rest of the cast I'm sure will get better. I don't want to be too mean as I'm sure it will improve after a few performances, and some things that bothered me will get better. But even then I do not think this is a good play. What was the running time?
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851 posts
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Post by bordeaux on Feb 4, 2023 10:16:03 GMT
I'm also curious to know whether this play is any good before I buy tickets. I really want to support the NT but their productions have been so hit and miss recently. Don't forget the National do have the best returns policy of any theatre. You can get a theatre credit for any future production there. The Bridge does that too, but most theatres only let you return for another date for the same production. I think - happy to be corrected.
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Post by Fleance on Feb 4, 2023 13:23:51 GMT
I'm also curious to know whether this play is any good before I buy tickets. I really want to support the NT but their productions have been so hit and miss recently. Don't forget the National do have the best returns policy of any theatre. You can get a theatre credit for any future production there. The Bridge does that too, but most theatres only let you return for another date for the same production. I think - happy to be corrected. The Old Vic has a good policy too. In fact, based on the comments here, I just returned my Sylvia ticket. They just take £1 service charge.
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177 posts
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Post by tal on Feb 4, 2023 14:08:47 GMT
If you're into large rotating sets inside glass boxes and waiting many minutes for each of many set changes, maybe you'll enjoy it. Many scenes were very funny, but I have the feeling that was not the intention of the production - lots of the text is overdramatic and pointless. Janet Mcteer is quite good, the rest of the cast I'm sure will get better. I don't want to be too mean as I'm sure it will improve after a few performances, and some things that bothered me will get better. But even then I do not think this is a good play. What was the running time? 3h15min, but I’m sure that will change.
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649 posts
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Post by theatremiss on Feb 4, 2023 14:25:23 GMT
Not looking forward tbh, I booked it as I’m seeing Bake Off the musical in the evening. I may return my ticket
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Post by G on Feb 4, 2023 23:46:19 GMT
Not looking forward tbh, I booked it as I’m seeing Bake Off the musical in the evening. I may return my ticket May I suggest you don’t - everything about it blew me away - aside for some snags with changing sets and subtitles. Took me a moment to realise that the subtitles were not only being projected at the bottom of the stage (where they were difficult to read for me, due to people in front) but also at the top of the stage!
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851 posts
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Post by bordeaux on Feb 5, 2023 10:09:46 GMT
Don't forget the National do have the best returns policy of any theatre. You can get a theatre credit for any future production there. The Bridge does that too, but most theatres only let you return for another date for the same production. I think - happy to be corrected. The Old Vic has a good policy too. In fact, based on the comments here, I just returned my Sylvia ticket. They just take £1 service charge. Good to know. Perhaps some theatres have softened their policy in the wake of Covid; they don't want to endanger their spectators.
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Post by londontg on Feb 6, 2023 14:49:23 GMT
Don't forget the National do have the best returns policy of any theatre. You can get a theatre credit for any future production there. The Bridge does that too, but most theatres only let you return for another date for the same production. I think - happy to be corrected. The Old Vic has a good policy too. In fact, based on the comments here, I just returned my Sylvia ticket. They just take £1 service charge. Thank you both for the tips! That's very helpful to know.
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5,278 posts
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Post by mrbarnaby on Feb 6, 2023 23:31:22 GMT
Janet McTeer is always good although I admit the only things I've seen her in was Les Liasons Dangereuses at the Donmar. That is one thing 🤣
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Post by jr on Feb 7, 2023 7:16:05 GMT
I saw the first preview (it should have been the second but they cancelled the first one, I guess because it wasn't ready). The director gave a brief speech talking about the difficulties of building the set, etc. and explained that it was the first run through. Taking into account the technical problems of a first preview (subtitles absent or mismatched, really long scene changes) I think this was a complete mess (long mess at 3 hours 15 minutes).
The update of Phaedra was interesting but poorly executed. The actors are encased in a glass box (and they don't clean the glass properly, you could see handprints everywhere), microphoned and all sound seems to come from the same place. I found quite difficult to follow the dialogue when everybody talks at the same time, you don't know where the voices are coming from (quite similar to Yerma in that way, and the encasing of the actors).
The play was getting some laughs that I guess were not supposed to happen: at times feels like a pretentious soap opera.There is a very long dramatic scene that is completely ridiculous: I won't spoil it but one character is following another shouting in Arabic and a third one running after the second one translating into English.
I saw some "inspiration" taken from Ivo van Hove (the expensive set), Pinter's Mountain language (topic) and Wajdi Mouawad's Incendies (he uses recordings made by the protagonist's father instead of letters). Nothing that it hasn't been dore before, and much better.
If you get bored, you could always play Where is Wally? I was able to spot JMcT hiding in a toilet (the set rotates so everyone could see her) and several bums covered by blankets on the garden scene. Or leave and go for a drink.
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Post by alessia on Feb 7, 2023 10:44:30 GMT
This sounds dire!
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404 posts
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Post by dlevi on Feb 7, 2023 23:29:59 GMT
I'm just in from seeing this and all I can say is: wow.
To address the concerns which have been aired here:
Running time is 2:45 now including the interval.
Yes there are blackouts which go on too long but when the lights come up I found it worth the wait.
The timing of the subtitles is still off but not enough to ruin the astonishing production.
and it'll only get better.
Like Simon Stone's "Yerma" 7 years ago this production is going to be the hottest ticket in town ( well maybe second hottest ticket after "Streetcar") - this is an utterly contemporary play in every way. The emotions are immediate and raw. The dialogue is tight and funny and packs a wallop when it needs to. The design is superb and there isn't a weak performance on the stage. I can't wait to see it again. it's thrilling.
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Post by thistimetomorrow on Feb 8, 2023 23:54:34 GMT
I really enjoyed this and was very close to putting it as 5 stars, but there were a few things that made me hesitate.
The tag line for the show is "In a house of glass, one must not throw stones." and while I admire their commitment to this imagery, they've kind of made life a bit hard for themselves by containing all the action within a glass box. Firstly I don't think the cast can get in and out of the box easily so in some of the scenes you can see cast members hiding in the set pieces when they're not in the scene, most obviously in the field of corn where you can spot people hiding under blankets or in the shrubbery. Secondly, they have to have some very long blackouts in order to completely change the set within the glass box. They cover this up by having voice over recordings with the subtitles projected onto the curtain. I think for those instances it works, but for the in between blackouts where the actors are just moving to other positions or the box is just rotating, I don't know why they've added such long blackouts? The only reason I can think of is to make the really long set change blackouts seem less out of place, but tbh because they've got the voice over and big dramatic music during those moments anyway, the set change blackouts wouldn't have felt out of place I don't think.
Anyway, the play itself I thought was really good. Without knowing the myth it's based on you can still tell where the story is going, but that doesn't make the play any less of a riveting watch. I think this is helped along by some fantastic acting by the entire cast, but especially Janet McTeer as Helen.
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1,199 posts
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Post by Steve on Feb 9, 2023 17:51:46 GMT
I also saw this last night (the final preview, I think, so it should be locked in, and Simon Stone's daily rewrites should be over), and LOVED it! For me, it's a culture clash comedy, as well as a culture clash tragedy, so I think it intends to elicit the laughs it gets along the way: a very modern Phaedra! The cast is universally wonderful! Some spoilers follow. . . The set features a shimmering glass cage trap, as in Simon Stone's "The Wild Duck," also similar to Stone's glass box in "Yerma," where it also felt like an examination room, with the audience in the position of therapist, examining Yerma's psychology from a distance. This set has another layer still, beyond cage trap or exam room: it spins on it's axis, even as characters move around it, and mix themselves up in a variety of combinations. In that sense, the set feels, to me, like a giant cake mixer, spinning it's mix of cultural and experiential ingredients around, cooking these ingredients into a whole new cake. The baking powder of the cake, catalyst of the plot, is Assad Bouab's Sofiane (avatar of Hippolytus from Seneca's play, though he isn't Janet McTeer's Phaedra's stepson, in this version, but the son of her deceased former lover). Stone writes remarkably modern feeling characters (the stuff Archie Barnes's super-smart kid was babbling on about left me feeling positively ancient lol), but with the exception of Sofiane, who emerges from a culture of political persecution as a man who can no longer bear to be anything but open and honest, the other characters embody a quintessential civilised reserve. It is the repeated breaking of that sense of reserve that serves up the comedy. Funnily enough, the play this most reminds me of is "God of Carnage," in which McTeer herself played one of four characters, whose reserved and thick veneer of civilised behaviour was smashed apart into bickering and savagery by an incident at school. Here, there is no incident, but a person, in the form of Sofiane, who triggers the comedy and tragedy. McTeer, as ever, is an absolute force of nature, but this is such a strong cast, with John McMillan's Eric exceptionally funny, as his character is the most recalcitrantly and pathetically civilised, even under enormous pressure, and Mackenzie Davis's Isolde, Eric's wife and Phaedra's daughter, more subtly funny, in the way she is so unwittingly and believably exactly like the mother she hates. And Paul Chahidi, always reliable, is magnificent here, as a man of languages, who bridges cultures, and yet still can't hold things together. When he begins to crack, like an intellectual Basil Fawlty, I belly laughed. Ultimately, this play moves beyond "God of Carnage" into full Greek territory, and for my money, does so successfully and excellently. I wouldn't rate this as highly as Stone's Yerma, which was a primal scream from the soul that still upsets me to think about today, as Phaedra doesn't merit the sympathy Billie Piper's Yerma did, nor does she even merit the symapthy of Marieke Heebink's supremely soulful and tragic "Medea," but by goodness, if you're going on a grand trip into self-entitlement, Janet McTeer is the force of nature to make it exciting. 4 and a half stars from me.
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