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Post by joem on Mar 11, 2017 21:39:48 GMT
If you haven't read it, do read "Bloody Men" by Wendy Cope.
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Post by joem on Mar 11, 2017 21:36:11 GMT
You have to see Sondheim on Sondheim. Sorry! I "completed" Shakespeare including the geeky ones but am agonising about whether I should boast about it not having seen "Sir Thomas More"? My ambition is to see all Pinter, Rattigan and Ibsen but unless I learn Norwegian I am unlikely to manage the latter. And few of Pinter's early one-act and radio plays are staged these days (exceptions being The Room, The Dumb Waiter, The Collection and The Lover). Good luck! Ibsen is impossible, but I'm trying, I sat through the UK premiere of The Feast at Solhaug at Barons Court Theatre for example. I've seen Sir Thomas Moore, you have to include it, sorry. You win. I'll keep my eyes peeled for Sir Thomas!!! I saw that production of "The Feast" and "St John's Night" at Jerymn Street. But will we ever get the chance to see "Catiline"?!?
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Post by joem on Mar 11, 2017 17:04:34 GMT
Where is this coming from suddenly? Anything I missed (which wouldn't be a surprise) or just a general thought? From the UK Government's Department of Culture, Media and Sport, after pressure from the All-Party Parliamentary Group on Ticket Abuse in the UK Parliament and general public outrage at the present situation. appgticketabuse.wordpress.com/A recent Conservative Culture Secretary, Sajid Javid, publicly defended ticket touts as "classic entrepreneurs" and said that people compaining about them are the "chattering middle classes and champagne socialists, who have no interest in helping the common working man earn a decent living by acting as a middleman." So it's a major step forward that a Tory UK Governmemnt is attempting to address this issue. This may well be an underhand way of getting the touts to pay tax? Fat chance!!!!
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Post by joem on Mar 11, 2017 13:09:25 GMT
You have to see Sondheim on Sondheim. Sorry! I "completed" Shakespeare including the geeky ones but am agonising about whether I should boast about it not having seen "Sir Thomas More"?
My ambition is to see all Pinter, Rattigan and Ibsen but unless I learn Norwegian I am unlikely to manage the latter. And few of Pinter's early one-act and radio plays are staged these days (exceptions being The Room, The Dumb Waiter, The Collection and The Lover).
Good luck!
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Post by joem on Mar 11, 2017 9:53:12 GMT
Or will the touts and their "honest John" website allies find other ways of bulk scalping?
The internet didn't invent touts but it has helped to make it big business. It is so frustrating when you are lucky enough to be in the first tranch of people to log onto sales for an event only to find you're halfway down the arena or whatever.
I don't think this will resolve the problem. There are other issues - promoters passing bulk tickets directly onto the secondary market, online sellers selling to their own secondary ticket websites etc. And the pricing of tickets by some theatres does not help.
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Post by joem on Mar 11, 2017 9:14:26 GMT
Great cast and production. But the opera is so short (did I actually just say that?!?) and so to me it it had no depth just Winters Tale told in bullet points That seems to be the gist of what the reviews are saying. I only read them afterwards so it wouldn't colour my thinking but it could really have done with more character development (hence the feeling it was short), and some meatier words the singers' could have got sank their voices into. One of the most effective musical moments, for me, was the sort of whispering chorus where Leontes' people start to express discontent at him, even if it came after a pointless dumbshow. But it was far too short. The production would also have benefitted from being set in the original vague romantic setting. This felt too much like one of those RSC productions where they make some clunking topical political point by simply dressing everyone in interwar military uniforms and ignoring the text.
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Post by joem on Mar 11, 2017 0:14:52 GMT
These days hits spawn musicals, rather than the opposite.
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Post by joem on Mar 10, 2017 23:52:14 GMT
The ENO's decision to commission new works is laudable and this is quite a worthy effort. Not full, maybe an 80% house which was quite supportive.
Advantage is that it starts with a well-known story, adding to the canon of Shakespeare-inspired operas. I don't understand why it is set in vague 20th century "Ruritaarian" outfits, with Soviet goose-stepping and much military costume.
Not an expert on classical music but the score was pleasant enough, in a modern way, no memorable tunes but sung well. It did seem a bit on the one-paced side though, could have done with more contrast.
Theatrically some tricks were missed but the transformation scene was dramatically effective, the ending was a bit more downbeat though.
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Post by joem on Mar 10, 2017 16:03:00 GMT
What I mean is that a business which needs/wants to make money basically follows the money and tries to come up with ways in which to make new money, rather than push prices (and costs) for your existing clientele higher and higher. The price for tickets has gone up a lot in recent years, we are being clobbered with ingenious new add-ons to buy the same tickets and there is a thread elsewhere on the sad fate of theatre programmes - increasing prices, reducing content as they enter a vicious downward spiral which will probably end in their virtual elimination.
It is not beyond the realms of ingenuity to find a way of making Sunday performances financially rewarding. I have a great interest in theatre being successful, being an addict. I suspect at some point Sundays will become a way of theatres making more money.
Viserys, check out the fringe when you're in London on a Sunday. You normally get a decent amount of performances, many of them early enough to allow you to leave London in the evening.
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Post by joem on Mar 10, 2017 15:48:37 GMT
I nominate Jonathan Livingston Seagull. Game, set and match to you sir.
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Post by joem on Mar 10, 2017 11:48:41 GMT
I recall a time, not so very long ago, when we were being told football was something that HAD to happen on a Saturday afternoon.
Personally I am happy for the fringe to have Sundays because for me the fringe is, as a rule of thumb, more interesting than the West End these days. But a failure to market something properly, and to have the necessary working conditions to make something work, does nt mean there is anything intrinsically untenable about professional theatre on a Sunday. Except, perhaps, for those theatres which lose money every time they open their doors.
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Post by joem on Mar 10, 2017 11:14:15 GMT
I don't see why what is a religious relic from days gone by should be allowed to dictate the way modern lives are led. There are many, many things open on a Sunday, including cinemas, so we've got over the old Sunday has to be boring mindset. But conversely, most of the public sector - jobs, education etc - still work Monday to Friday, as does the financial sector and many other private businesses outside of retail. Even among theatre ticket agencies, it's pretty hard, if not impossible, to contact more than the duty officer and retail sales team on a Saturday and Sunday. It's ingrained that the mass take a break at those times. From religion, true, but even so, it's in our culture and making SupertTrooper, firefingers and co work against it is an issue that deserves our consideration. Theatre is not in the public sector - despite the subsidies some organisations get. It is an entertainment industry and it is perverse not to be offering its wares at times when many people are available to spend time and money on it. Both residents and tourists.
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Post by joem on Mar 10, 2017 10:07:29 GMT
I nominate Jonathan Livingston Seagull.
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Post by joem on Mar 10, 2017 10:00:14 GMT
Sundays yay. When you travel to London for a weekend and you watse a whole day it is very frustrating.
I don't see why what is a religious relic from days gone by should be allowed to dictate the way modern lives are led. There are many, many things open on a Sunday, including cinemas, so we've got over the old Sunday has to be boring mindset.
Everyone needs a day off so all theatres should close one day a week but no reason why it has to be Sunday.
Fringe venues, in particular, should promote Sunday shows heavily whilst the current culture of little action persists.
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Post by joem on Mar 10, 2017 0:08:07 GMT
Saw the second part tonight. Entertaining but a bit less engaging than the first part.
Theatre less than half-full. Mystifying.
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Post by joem on Mar 9, 2017 23:51:33 GMT
Looking forward to this. I am a big Paul Auster fan, caught him speaking at the Shaw Theatre a couple of years ago. Haven't got a clue what this will be like, read it years ago, I do remember the book it's from - The New York Trilgoy - causing a big impression on me though.
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Post by joem on Mar 6, 2017 22:09:17 GMT
I really find this experiment in virtual crowd control distasteful and, behind the egalitarian statements of intent, just a way to show us who is boss.
Having said that, I got a couple of crap tickets for March 25th, but to be honest I am not fussy when I really want to see something.
Anyway, Soylent Green is people.
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Post by joem on Mar 1, 2017 21:38:48 GMT
I will rarely join in a standing ovation because if you expend all your superlatives on what is merely good or very good, what do you reserve for the truly outstanding?
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Post by joem on Feb 27, 2017 19:15:36 GMT
I don't post that often and my posts tend to be linked to whatever I have just seen so cannot say whether the board has become cliquey or not, although my gut instinct is that it hasn't.
That said I do read occasional outbursts of rudeness and irrelevance, both of which should be clamped down. A board is not a chatroom and perhaps there should be specific boards ot threads - like the "general chat" one - where people shoot the breeze. If I see a thread about "Macbeth" I'm not sure I want to be confronted with a recipe for Tequila Sunrise or a dissertation on the sex life of a Colorado beetle. But maybe I'm too stiff.
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Post by joem on Feb 26, 2017 0:28:58 GMT
Very ambitious production by the Kingston Theatre - they themselves describe it as the most ambitious in their nine-year history, and you can see why. To condense and adapt for the stage the massive sprawling tetralogy of books by Elena Ferrante set largely in Naples, which spans five decades and requires an extensive cast list before you even start to read the novel, is not an easy exercise by any means. This is the reason why it is actually staged in two parts.
The ambiguity of the title lies in the relationship between Lenu (the novels' narrator) and Lila, her best friend from infancy. Growing up together in a poor neighbourhood in Naples, the story is about poverty, aspiration, loyalty, love, hate and, above all, friendship. It is about nature/nurture and how we can overcome the difficulties arising from being born into the most unpromising surroundings, especially when you are girls in a society which is based wholly around machismo.
The two protagonists - Niamh Cusack as Lenu and Catherine McCormack as Lila - give good accounts of their parts, especially in the light of how they grow up from being kids to mature teenagers. Lenu the good, studious girl who wants to be clever but also glamorous and Lila - a naughty but natural talent and beauty, too honest for her own good. Both loving each other, but both suffering from being compared to each other and from occasional pangs of jealousy. A solid ensemble backs them up with loads of doubling-up to cover the large list of characters represented.
Some production decisions do not necessarily help:
i) everyone keeps their own accents, I would have preferred some uniformity ii) the doubling-up can be confusing at times iii) in two minds as to whether the age of the characters (the girls are very young girls when the play starts) might have been better depicted
The set is simple but the good use to which levels, entrances and lighting are put helps to keep the action focussed despite relatively few props
I don't know if anyone who hasn't read the novels would get as much out of it as someone familiar with the texts - not for me to say as I have read them, it is difficult on first viewing to make up my mind about it.
A point does need to be made which is relevant for this production, but also a general comment on much off-West End and fringe work. Has the theatre done its homework to promote this production effectively? The audience for the world premier of what has been a publishing phenomenon and sold in its hundreds of thousands in this country alone was disappointing, maybe 60% of the house full. Did they not know who their potential audience was? And if they did, why did they not tap it more effectively? I find it mystifying.
I do recommend this very highly though, a flawed production but an engrossing one which merits selling out.
Incidentally, first time in over forty years of theatregoing where there is no curtain call despite enthusiastic applause. Why?
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Post by joem on Feb 24, 2017 23:17:50 GMT
Imelda Staunton was really good, bound to get an Olivier nomination for this. Rest of the cast as well although I did wonder a little bit at the Conleth Hill casting. I can't quite see what she saw in him all those years ago.
Funnily enough the hthree hours did not drag at all. If I have one criticism it's the touch of melodrama to some of the reactions when the preposterous stories told by Martha and George unfold. I have seen people being told some pretty heavy stuff in my life and they don't always faint and tear their hair.
But enjoyable I did find it, yes.
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Post by joem on Feb 23, 2017 18:16:26 GMT
Turkeys
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Post by joem on Feb 23, 2017 0:12:02 GMT
This can't last surely? At some point a non-performer will complain about discrimination.
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Post by joem on Feb 22, 2017 23:12:21 GMT
Finished now. Part of The Vaults Festival. It was certainly great to see The Vaults so busy for the festival, loads of people millng around and the performance I went to was more or less sold out.
An interesting idea which doesn't quite come off. The story of disgraced cyclists' Lance Armstrong and Marco Pantani's epic battle on the most fearsome mountain of the Tour de France, where Brit Tom Simpson famously died in the sixties. But also a comment on competitiveness, doping and more.
Two guys on static bikes on tage does have limited possibilities so the production uses actual footage of the mountain roads (not the riders) to create more atmosphere.
Ultimately this doesn't work that well dramatically for the simple reason that the conflict - sporting, personal and overall vision - is mostly reduced to a conflicting, contradictory set of monologues with little engagement. But a decent attempt to do something leftfield.
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Post by joem on Feb 22, 2017 22:55:19 GMT
I am not normally a negative person but this really said nothing to me and, as an adaptation of the novel (or film?) was pretty feeble.
A lot of prancing about in tights and leotards which is fine in ballet, and could well be fine in another play but here, in this supremely violent story, is of dubious relevance. Fans of male beefcake may enjoy it but as a theatrical production... nothing to recommend.
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Post by joem on Feb 11, 2017 23:03:44 GMT
I enjoyed this and feel it's worth a London transfer, whether it will do well is anohter matter. But it did shed some interesting oight on a rarely-troubled-by-the-stage historical period of British history and managed to make one of the, on paper, most boring monarchs in British history quite a sympathetic character..
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Post by joem on Feb 10, 2017 21:29:21 GMT
This was done very much, for me, in what has become the Wanamaker house style. The play is what it is, a melodrama of its time. I don't understand people criticising it with 21st century values. Webster didn't write this play for us, he wrote it for his audience. This is what they expected and there a lot more messy deaths happening then, not just on stage.
Modern audiences don't like melodrama, which is why they laugh at gory deaths on stage. They laugh because they know it's not true however well it's done (I did jump when Danton's head was chopped off at the National though). But unless you're a Brechtian, which I most certianly am not, isn't the entire idea of the theatre about the suspension of disbelief? A death in a film drama is much more convincing but it's still fake.
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Post by joem on Feb 10, 2017 20:06:29 GMT
Anyone got tickets for this? I haven't but am hoping to get them when more tickets are released. Bloody Donmar.
I do love a good political play.
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Post by joem on Jan 28, 2017 11:00:37 GMT
Never got the chance to see him on stage. I would have if he'd been able to go through with The Entertainer, but it was not to be. RIP.
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Post by joem on Jan 28, 2017 9:40:07 GMT
As a huge Marx Brothers buff I was naturally drawn to this production which is on tour in London, having first toured in 2015
The premise is that a bunch of failing music-hall actors and an entrepreneur find a new angle to revive their careers, staging an unstaged Marx Bros script coveniently discovered whilst sheltering from the Blitz. The first half of the play is taken up with this set-up and the second part is taken up, largely, with the peformance.
The problem is twofold - the first half drags and the second part does not convince. There have been so many Marx Bros impersonators over the years - some of them very good - that much more work needs to go into it than a moustache, cigar and a curly wig. Whilst the script is original, many of the gags are recycled oldies put into this new context and -whilst resoanbly well-worked -they obviously suffer by comparison to the originals.
An affectionate tribute but one that rarely gets off the ground.
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