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Post by David J on Jun 10, 2016 15:41:37 GMT
Since Friends booking is now open, can anyone share the prices or seating layout.
As tempting as the free young persons tickets are, just imagine the amount of people who could snatch those up in a minute.
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Post by David J on Jun 8, 2016 22:24:30 GMT
Well, I enjoyed this
It felt as Brechtian as one expects it to be. No illusion but a minimalist set of flats that are moved around, whilst the comings and goings on backstage are clear for all to see.
The music too was disconcertingly fantastic to listen to. I actually went to a talk beforehand about the collaboration between Brecht and Kurt Will held by Matthew Scott and Dr Tom Kuhn. It was fascinating to hear music from this and other works like The Rise and Fall of the City of Mahagonny, and notice how the harmony, tone, and lyrics clash with each other, as if the music too is observing the action with a critical eye.
And man was Brecht a handful to work with
Rory Kinnear gave an impressive performance, though I do agree that the production could have build up the legend of Macheath more. Nick Holder and Haydn Gwynne were a delight to watch as the Peachums and its nice to see Peter de Jersey perform again.
I'm afraid I fall under the 'bland Rosalie Craig' camp. Beautiful vocals, but it's noticeable when everyone else was playing up the satire of their characters.
Loved some of the visuals, such as the maze of walls and staircases that is Macheath's residence. A place of deceit to get lost in. The end of the first act alone is worth seeing.
Personally I thought the pacing would stop and start at points. And the Threepenny Opera's messages can get overshadowed by the spectacle. It was a similar problem I had with the Fiona Shaw production of Mother Courage, which felt like a rock concert than a Brechtian play by the end. This isn't as bad as that, but I do wonder whether Brecht's style of drama doesn't work in a large scale production
Fun fact by the way: we know we like to complain about the extortionate prices people pay for brochures full of adverts, or there tat at the souvenir counter. Well Threepenny Opera was one of the first productions to sell souvenirs. Or shall I say the 150 German productions held in the 12 months following the premiere, since the opera was so popular that everyone wanted to join the bandwagon. Recordings were sold alongside stuff like Threepenny Opera postcards and wallpaper
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Post by David J on Jun 6, 2016 17:04:09 GMT
Just so long as everyone declares "I solemnly swear that I cant keep my trap shut" and "Spoilers Managed" every time they enter and leave the thread then we'll be fine.
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Post by David J on Jun 3, 2016 22:29:32 GMT
I'm going to say I enjoyed this production immensely. Even my mum, who did not like the sound of this post-apocalyptic concept, liked it by the end.
It was also understudy Temi Wilkey's turn as Imogen, due to an indisposition of Bethan Cullinane, and she gave a brilliant performance. She played the youngster perfectly, and in comparison to Emily Barber from the Sam Wanamaker production I thought she portrayed the characters journey during the second half clearly and poignantly. You see all the calamity she goes through and how it changes her, and her ending left me welling up.
The gender swap surprisingly worked. I thought it would be stupid to deny an actress the villainous queen, who has more to do than Cymbeline. But from what I could tell the Queen-now-Duke role has been cut down, giving James Clyde less time in the limelight. Instead it was in fact Gillian Bevan who had so much presence as this motherly Cymbeline overlooking her divided kingdom.
That said, giving less attention to the Duke meant that Cloten had less of a presence as well. I missed the spoilt, mother's boy brat from the Sam Wanamaker's production. Marcus Griffith's acted like an ordinary bloke, apart from his occasional stop for failling to woo Imogen. Despite the character's downsides, I felt bad for his outcome.
If there's one thing I will give the Sam Wanamaker points for though is its simplicity and clarity. I didn't mind Melly Still's 'concepts' for 75% of the production (though those subtitles were completely unnecessary). Then when it came for the battle and vision scenes I had no clue what was going on.
Sure the plot gets convoluted at that point (and I'm sure there were bits that weren't in the Sam Wanamaker version) but Melly Still throws everything into the last 25% of the production and it felt like I was going on an acid trip. Up until the last scene it was a complete mess.
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Post by David J on Jun 3, 2016 16:34:55 GMT
Keep up, David J, Peggs's mum has been remarking upon his nose for over a week now, since its first appearance. "I don't recall any other character speaking directly to the camera up until now in these two episodes. You can almost sense Shakespeare suddenly upping his game as Cumberbatch turns to the camera for the first time, as if to say "now the real sh*t can start, motherf**ckers" i just found that so cliched and cheesy but I am not a fan of Cumberbath and Shakespeare-he always sounds like he is trying to hard to i.e over and slow.Not my Shakespeare at all i just hope they do bit better with the Read more: theatreboard.co.uk/thread/796/hollow-crown-wars-roses#ixzz4AWP5yWInTo be fair, I just thought he gave a good and serviceable performance and nothing more. I miss the comedy that can be juiced from such lines like "Is the chair empty". Instead of relishing it, Benedict just took the obvious route and shouted it. I'm still waiting to be amazed by Cumberbatch. And dearly I'd like to. I just find he relies too much on his dark, sombre voice that is part of the attraction. Did you see his Hamlet? I'd wished I could have been overblown by that performance if he wasn't overshadowed by Lyndsey Turner's gimmicks
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Post by David J on Jun 2, 2016 21:45:33 GMT
Okay, the cast are in fine form now, even though the show had to be stopped for a couple of minutes when Mark Lockyer fell ill. Gregory Doran came on to explain that he will be able to continue, and he was seen with a walking stick for a little while.
The audience was more receptive and there were a couple more laughs in the first act. But its not laugh-a-minute, and the second act is still the funniest where all the con artists' plots collide together and they have to overcome these set backs.
Now that I come to think of it, the problem really is the text. Anybody seeing this should read up on the plot because it is difficult to know what exactly is going on and who's who.
That was the consensus I got from people who saw it last Tuesday, and I thought that it was because the cast needed to settle down. But even I had a vague understanding of what was going on the first time I saw this, and tonight I had to reaquint myself with wikipedia during the interval.
Jonson's language just didn't stand out to me really, which was a similar problem I had with the RSC's production of Volpone last year. Now I am not going to say which early 17th century writer had a better command of language. Jonson may show a deep knowledge of alchemy in this play, but the text lacks that special something that has you engaged with what's going on from the start.
I mean think about those theme tunes the band plays at the beginning like the 'A Team'. They get you hooked from the get go and you know what you're getting into. For the first act at least the play never matched that.
That's just me anyway. It's still an enjoyable show worth seeing. Just take along a print out of the plot.
Anyone have a better knowledge of Jonson to elaborate or contradict me? I'm genuinely interested.
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Post by David J on Jun 1, 2016 22:25:08 GMT
Got to agree this is a great production. It felt natural in the African setting and Simon Godwin didn't go overboard with any directorial ideas (unlike Lyndsey Turner and David Farr).
Pappa Essiedu's acting was natural and believable as the young prince. A great actor with a bright future. I can't wait to see his Edmund in King Lear
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Post by David J on May 31, 2016 22:11:01 GMT
I've watched Midsummer as a kid and didn't recognise the sexual undertones. It was just a fairy story to me.
It's like those pantomimes that are filled with sexual innuendos. Children and adults are going to laugh for entirely different reasons.
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Post by David J on May 31, 2016 22:05:49 GMT
I'm going to see this again.
Not because it was brilliant (right now). In fact I wen't to see a preview tonight and unfortunately the energy was non-existant during the first act, with only smatterings of laughter
The only part that was greatly received was the start when the band was playing theme tunes like the A-Team and (I think) The Italian Job in Elizabethan/Modern style music. It pumped me up for something thrilling and funny, but was never matched by the rest of the act. Ian Redford was the only one outshining everybody as Sir Epicure Mammon (has he played Falstaff already because he acts the part).
But boy did the show pick up in the second act. Everyone was hitting the right notes with gusto and was greatly received by the audience. There's also quite an explosive moment to watch out for. There was even a cheeky breaking the fourth wall to finish the show.
Polly Findlay has definitely reined herself in after Treasure Island, The Merchant of Venice and As You Like It. Even if it lacked energy the first act definitely shows promise.
So yeah I'm going to the press night this Thursday (even my mum wants to come now), and am expecting a fantastic night out.
Stay tuned.
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Post by David J on May 30, 2016 22:02:44 GMT
There is a world outside the West End, Parsley. Doesn't touring, regional, amateur, school production revivals count? And sure RJ is the obvious introduction to Shakespeare, but interesting staging and updated versions helps make this over-familiar play interesting to watch
And I'm sure the story of two people from two opposing sides finding love pops up a few times.
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Post by David J on May 30, 2016 21:15:09 GMT
For me the RSC staging done by Rupert Goold (in his heyday) remains the gold standard for this play I'd never would have thought you'd highly regard that production. That certainly gave this never-ending revived play, with its overused story, a good kick up the backside with vitriol and fire.
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Post by David J on May 30, 2016 21:07:58 GMT
Yeah, the Athenian's should be panicking by the paranormal activity the fairies were creating
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Post by David J on May 30, 2016 20:52:56 GMT
JESUS the humour in the Pyramus and Thisbe sequence has been sucked out. They're taking the Athenian scenes SO seriously.
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Post by David J on May 30, 2016 20:25:56 GMT
Okay...the Demetrius falling for Lysander moment was an interesting, but brief, departure
Otherwise this is a pretty rushed adaptation
Also the actors are competing with the overly loud music.
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Post by David J on May 28, 2016 18:24:15 GMT
You know what, I appeal to superior judgement here and say that I am wrong.
And memory of this play only adds up to a cut down version by my university friends a few years ago, and the only professional production was a touring outdoor show about a decade ago
So yeah, I'm not the best person to talk about this play who made himself look sexist in the process
I suppose I could say that this is a slippery play to get your head round, and I'll think on this some more.
All I can say is that this very well done, though the tone in the second act veers between from dark and comic so sharply that it felt disconcerting for me.
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Post by David J on May 28, 2016 14:40:40 GMT
Watching Aoiffe Duffin who is now Kate and she's very stellar performance. Not just shrewish in her abrasive manner but in her expressive face. And she sings some very sorrowful songs at times
A great Irish setting and music, though I can't see how much 1916 or the Easter rising reflects on this production
The production certainly mocks the men and gives more of a voice (and roles) to the women. Bianca for one is not the soppy type she can be portrayed as, and there's a kind of kindred sisterhood between her and Katherine, even when she's tied up.
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Post by David J on May 24, 2016 11:15:33 GMT
I'm not liking the extra notes added to the opening music. I hope that's just for the trailer. It's as if they're adding different notes for the sake of being different.
I agree that they should have added the Broadway songs (absolutely love If I Can't Love Her), but what can you do.
Ewan McGregor's accent is off putting, but Ian McKellan is just reminding me of Gandalf rather than Cogsworth.
RUN, YOU FOOLS
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Post by David J on May 23, 2016 14:19:07 GMT
Hopefully this White Devil will be an improvement on the Maria Aberg version
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Post by David J on May 21, 2016 20:22:01 GMT
Well, all I can say so far is that this is not nearly as entertaining and bizarre as Emma Rices production
But it is certainly the better Shakespeare production, and it has been leaving me with a smile on my face
Also whilst Emma Rice flings dozens of ideas into her production, this gives modest helpings that leaves me curious to see more
And I am loving Lucy Ellinson's 'Emcee' Puck. Especially since she doesn't resort to SHOUTING. The Barbican Tower company are doing a good job as the mechanicals
The first act is very long though. It finishes right after Puck sends the four lovers to sleep and amends all wrongs
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Post by David J on May 19, 2016 7:22:23 GMT
I find taking someone along when reviewing is perfect, so that there is a second opinion and the two of us can bounce thoughts off each other.
I'm sure the same can be said for the critics
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Post by David J on May 16, 2016 13:45:43 GMT
Yeah...I meant the expressiveness of his face
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Post by David J on May 16, 2016 12:07:27 GMT
He's deadly evil with his mind as much bright as it's twisted, yet he's a lot of fun and somehow compelling.. He makes you understand his pain and deep-seated anger. I found myself rooting for him unconsciously.. Isn't that weird? A wonderfully stange mixture of feelings that lingers on. Also loved the way his speeches are delivered - straight on to the camera in almost stage-like fashion. Really draws you in.
That's the Machiavellian anti-hero drawing you in there After writing three plays of endless carnage and deaths, Shakespeare has taken a leaf out of Marlowe's book and created a character that repulses and delights you at the same time. Just that alone marks the difference in quality between Henry VI and Richard III. I don't recall any other character speaking directly to the camera up until now in these two episodes. You can almost sense Shakespeare suddenly upping his game as Cumberbatch turns to the camera for the first time, as if to say "now the real sh*t can start, motherf**ckers" And I must say I've only liked Cumberbatch's work up until now, but just the last 15 minutes of him up close has me quaking for more. Just his facial work alone looks deformed and villainous
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Post by David J on May 10, 2016 22:10:32 GMT
It was done at the Lyric, Hammersmith a few years ago, wasn't it? They wanted to revive it a year later, too, but found half the original cast were on maternity leave, as I recall. Well the rabbits were desperate for some does so... And yes this is the Lyric Hammersmith play. Written by Rona Munro, who also did the King James Plays
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Post by David J on May 10, 2016 12:19:09 GMT
As a fan of the film and book I'm really looking forward to this.
Just the fact that this is being staged in the tiny Watermill Theatre, near to the real down itself has me buzzing with excitement.
The imagination they put into fitting plays into that space is amazing.
The casting announcement has just been released. Edward Bennett (recently in the RSC's Love's Labours Lost and Much Ado About Nothing) will be starring as General Woundwort.
I like him as an actor, and am always keen to see range in performers. I'm just struggling to see him in the role. Even when you take Harry Andrews and John Hurt's voice acting from the film and TV series out of the equation, he's not monstrous dictator material.
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Post by David J on May 8, 2016 19:00:23 GMT
I agree, but when its done well it can be a thrilling bloodfest.
If only HBO had done this series
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Post by David J on May 8, 2016 18:34:58 GMT
I've just watched the first episode, and generally it is good.
It squeezes Parts 1 and 2 into one, ending with York declaring his claim to the throne
Sadly Jack Cade has gone, and Joan of Arc and Talbot are woefully underused (and I think Phillip Glennister would be perfect for the role)
I hope we get to see Ben Miles and Samuel West get their ultimate comeuppance as Somerset and the Bishop of Winchester. Such weasely, deceiving characters.
There's some great performances from Hugh Bonneville, Sophoe Okonedo, Adrian Dunbar, Sally Hawkins, Anton Lesser, and Stanley Townsend as the main players in this power vacuum.
I don't know what to think about Tom Sturridge as Henry VI. He certainly shows weakness, and he gives a different performance to the childlike Chuk Iwuji, Graham Butler, and Alex Waldmann. Instead he is an uncharismatic Henry VI, and I hope that's just his interpretation. I just hope he shows more than that in the second episode
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Post by David J on May 8, 2016 9:29:00 GMT
I mean, it's right there in the text that Helena offers to let Demetrius use her as his spaniel, and that he threatens to "do [her] mischief in the wood", and that Oberon uses a date-rape drug to trick his wife-figure into non-consensual bestiality, so if you haven't had to answer awkward questions for your kids before now with Midsummer, then you must've seen some pretty placid productions. Oh, the things you don't know my dear Baemax... Anyway whilst I do agree that this is doesnt represent Shakespeare well, I do think this is a great interpretation of the play
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Post by David J on May 7, 2016 22:52:27 GMT
Oh, and usually Midsummer is the best introduction to Shakespeare for kids, but I would express caution with this production.
Unless you are prepared to answer some awkward questions
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Post by David J on May 7, 2016 22:39:26 GMT
I can only concur with Steve that Rice's carnival of a show turns everything on its head. Not only gender, tone and music but just how we perceive how Globe productions should be performed.
I could complain that Katy Owen resorts to shouting a lot as Puck.
I could complain that the whole pre-show announcements that the mechanicals make goes on for ages.
I could complain that the production doesn't explore some dark undertones further (Lysander the sexual predator, or a drunk Oberon caressing the sleeping Titania as he gives her the love potion).
I could complain that the text gets overshadowed by the way characters frequently change between delivering the text to either singing, using modern language, or speaking the text to music.
I could complain that the use of lighting (which in this Rock gig/carnival setting I really loved) only works during the evening productions.
I could complain that some of the staging left me scratching my head (such as Puck passing right by Demetrius and Helenus after she mistakenly gives Lysander the love potion)
But really this is A Midsummer Night's Dream. This isn't Shakespeare's deepest play and deserves to be down right fun. And not only does this production achieve that, but like the mechanicals and the lovers who are subject to the fairies' mischief, I was amazed, dumb-founded, and surprised.
And surprised is what I want to be when I see another Shakespeare production. To realise that there is no end of possibilities to what you can do with a play and this did that.
That being said I hope this isn't all we can expect from Emma Rice's Shakespeare production. I can see this working again in The Comedy of Errors or even Twelfth Night where the carnival and misrule elements appear again.
A great director is one who doesn't do the same thing again and again (I'm looking at you Jamie Lloyd and Lucy Bailey), but to show variety.
And I also think variety is best for this current season. Let the other director's do their thing, Emma Rice
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Post by David J on May 7, 2016 13:57:52 GMT
Seeing this on its last day at the arcola
Better late than never
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