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Post by crowblack on Oct 30, 2023 7:43:44 GMT
I doubt I'll get to see this but who knows, maybe rewritten a lot it could make an interesting film. I liked the sound of it when discussed on Radio 4 Front Row but the snippet of dialogue they played was clunky. However, there have been a lot of plays in recent years that are unsubtly message-heavy but with little or no characterisation or plot, but haven't received the critical panning this has, which does feel rather sexist!
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Post by callum on Oct 30, 2023 10:26:55 GMT
Had a ticket for this tomorrow night but fortunately managed to re-sell it. Mainly spurred on by the criticisms of unnecessary humour - seen so many plays recently where any dramatic momentum has been blunted by tired and egregious 'jokes'.
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Post by alicechallice on Oct 30, 2023 14:23:33 GMT
I remember somebody on here saying that they'd witnessed Diana Rigg asking for a prompt while in Hay Fever at Chichester, I'm assuming quite early in the run. She was 70 at the time too. I think she just had to say "LINE!" and then got a response.
That would have probably taken me more out of the play than somebody almost incorporating it into the dialogue as mentioned above in these instances. They're all such wonderful pros, aren't they? Especially Janine.
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Post by max on Oct 30, 2023 16:43:45 GMT
I remember somebody on here saying that they'd witnessed Diana Rigg asking for a prompt while in Hay Fever at Chichester, I'm assuming quite early in the run. She was 70 at the time too. I think she just had to say "LINE!" and then got a response. That would have probably taken me more out of the play than somebody almost incorporating it into the dialogue as mentioned above in these instances. They're all such wonderful pros, aren't they? Especially Janine. This is marvellous, Janine may have started something. Perhaps with theatre economics being as they are, rehearsal times will get shorter, and Playwrights may need to build in an offstage character for principal roles to call out to. Victorian: A Maid called Tilly, summoned to deliver prompts by a bell-pull. Edwardian: an off-stage Butler called 'Brabanger'. "What was that Brabanger?.....ah, see to it please Brabanger". Modern day: A Plumber who's working in the next room on the pipe work: "What was that Dave?.......yes well thank you Dave, but keep the noise down". [Add "you c*nt" if it's very modern] Jamie Lloyd productions: Performer in need of a prompt does a forward roll, receiving their prompt projected onto the back wall of the theatre for all to see. They then do an ironic walk of shame winking at the audience. A whole new set of Olivier categories beckons. |
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Post by Jan on Oct 30, 2023 18:42:32 GMT
That would have probably taken me more out of the play than somebody almost incorporating it into the dialogue as mentioned above in these instances. What it does is make the audience nervous because they're not sure if it is going to happen again. There was an RSC production of The Happiest Days of Your Life when on the opening night Paul Greenwood had to have multiple prompts and, because it was reviewed, it killed the run stone dead despite the fact he was subsequently word perfect. Later when I saw it there was still that uneasy feeling that it might happen again. I think what happens more than we realise is that actors inadvertently miss out bits of the text or just improvise to cover bits they've forgotten. If you go to surtitled productions especially of Shakespeare it is apparent. Michael Gambon as Falstaff went off-piste several times. |
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Post by amyja89 on Oct 30, 2023 19:16:55 GMT
That would have probably taken me more out of the play than somebody almost incorporating it into the dialogue as mentioned above in these instances. What it does is make the audience nervous because they're not sure if it is going to happen again. There was an RSC production of The Happiest Days of Your Life when on the opening night Paul Greenwood had to have multiple prompts and, because it was reviewed, it killed the run stone dead despite the fact he was subsequently word perfect. Later when I saw it there was still that uneasy feeling that it might happen again. I think what happens more than we realise is that actors inadvertently miss out bits of the text or just improvise to cover bits they've forgotten. If you go to surtitled productions especially of Shakespeare it is apparent. Michael Gambon as Falstaff went off-piste several times. I often think about that, about the choice to call for line rather than improvise something that contains the gist so the scene can continue without the audience really noticing. It has to be a situation where the mind completely blanks and you can’t even grab at context! |
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Post by A.Ham on Nov 1, 2023 17:45:54 GMT
The production have just released a statement saying that due to a family matter, Doon Mackichan has had to withdraw from the production. Niky Wardley is stepping into the role from tonight.
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Post by amyja89 on Nov 1, 2023 20:12:51 GMT
This production can't seem to catch a break! Hope Doon is okay.
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Post by Rory on Nov 1, 2023 21:00:19 GMT
I hope things go well for DM. She's terrific.
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Post by jr on Nov 2, 2023 10:47:27 GMT
Ticket listed on noticeboard.
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Post by A.Ham on Nov 2, 2023 14:08:56 GMT
I also have a ticket on the noticeboard - a £20 Royal Circle standing ticket for Fri 17th Nov. Please message if interested, offers considered. Thanks.
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Post by bgarde on Nov 4, 2023 18:25:44 GMT
Does the character of Sue always carry a tablet? After all the talk uptrend I wasn't sure if it was a character prop or otherwise.
I thought that this was a fascinatingly bad watch this afternoon. Enjoyed some parts (KST's first monologue is the direction we should have kept...), was bored by others (the husband) and befuddled by others. More to contemplate in some ways than some solidly 'good' plays I've seen...
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Post by greenandbrownandblue on Nov 5, 2023 8:14:05 GMT
I rather enjoyed this. Yes, it's a messy play with various plot holes but there are some great moments and lines, the characters drew me in and the acting is very good. Was particularly impressed with Sara Powell's Chris. I was sat in the front row which is definitely the best place to see this from.
Reading the reviews, I do think they're unnecessarily harsh - and I agree that if this had been on at Hampstead or the Royal Court, it would be viewed more favourably.
I wish they'd revive Skinner's play Fred Diner which I saw at Chichester a decade or so ago, starring Cush Jumbo. I loved it and I'm surprised it's never been done since.
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Post by G on Nov 5, 2023 16:01:39 GMT
I have put up a notice for two tickets for the matinee Saturday 11 Nov. It wasn’t especially the reviews that have dissuaded me - but quite wary of protests during these weeks.
Neither prospect seems to be dissuading other theatregoers as the evening performance next Saturday is sold out on the website (maybe as most people, like me, bought tickets before the reviews came out).
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Post by keepitupstairs on Nov 5, 2023 18:13:12 GMT
I have put up a notice for two tickets for the matinee Saturday 11 Nov. It wasn’t especially the reviews that have dissuaded me - but quite wary of protests during these weeks. Neither prospect seems to be dissuading other theatregoers as the evening performance next Saturday is sold out on the website (maybe as most people, like me, bought tickets before the reviews came out). Is significant disruption expected next Saturday? Have booked the matinee of Cabaret near Trafalgar Square, which from the sounds of it could be a focal point… |
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Post by G on Nov 5, 2023 21:06:08 GMT
I have put up a notice for two tickets for the matinee Saturday 11 Nov. It wasn’t especially the reviews that have dissuaded me - but quite wary of protests during these weeks. Neither prospect seems to be dissuading other theatregoers as the evening performance next Saturday is sold out on the website (maybe as most people, like me, bought tickets before the reviews came out). Is significant disruption expected next Saturday? Have booked the matinee of Cabaret near Trafalgar Square, which from the sounds of it could be a focal point… It sounds like there could be protests (https://www.reuters.com/world/uk/uk-pm-sunak-warns-pro-palestinian-protests-armistice-day-provocative-2023-11-03/), difficult to say how significant or not. My choice in this case (following the so-so review for the play and given that there is a chance of the day evolving in unpredictable ways) was to try and sell the ticket. But had I booked for Cabaret, rather than this, I think I would have gone. The calculation on balance in this case (for this play on this day) didn’t seem great for me personally. Also just adding that this is more due to a personal dislike of being caught up in large crowds than anything else. |
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Post by showgirl on Nov 6, 2023 4:34:12 GMT
Protests? Am I missing something specific, please, as also due to be in the area on Saturday 11 and I don't cope well with large crowds?
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Post by david on Nov 9, 2023 23:24:09 GMT
A few thoughts from today’s matinee. I got one of the £20 standing tickets in the RC and as my first time up there I was really impressed with the view from where I was stood. So in that regard it was excellent value and I would be more than happy to stand there again for future shows.
As the play itself, well I will say that I thought KST was worth the money and held the piece together. Her Act 1 monologue was great but in all honesty i didn’t think this was a great play from Penelope Skinner. A lot great comedy moments that unfortunately diluted the more serious points that Smith was trying to address. I’m not too sure what tone she was aiming for and for me, there wasn’t any emotional investment in any of the characters story arcs.
On a more positive note, I did like the set design of Elaine’s house and the sound design was also nice. Overall, I am glad I didn’t end up paying big money for this one.
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Post by Rory on Nov 9, 2023 23:25:11 GMT
A few thoughts from today’s matinee. I got one of the £20 standing tickets in the RC and as my first time up there I was really impressed with the view from where I was stood. So in that regard it was excellent value and I would be more than happy to stand there again for future shows. As the play itself, well I will say that I thought KST was worth the money and held the piece together. Her Act 1 monologue was great but in all honesty i didn’t think this was a great play from Penelope Skinner. A lot great comedy moments that unfortunately diluted the more serious points that Smith was trying to address. I’m not too sure what tone she was aiming for and for me, there wasn’t any emotional investment in any of the characters story arcs. On a more positive note, I did like the set design of Elaine’s house and the sound design was also nice. Overall, I am glad I didn’t end up paying big money for this one. Was everyone off book? |
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Post by david on Nov 9, 2023 23:26:37 GMT
A few thoughts from today’s matinee. I got one of the £20 standing tickets in the RC and as my first time up there I was really impressed with the view from where I was stood. So in that regard it was excellent value and I would be more than happy to stand there again for future shows. As the play itself, well I will say that I thought KST was worth the money and held the piece together. Her Act 1 monologue was great but in all honesty i didn’t think this was a great play from Penelope Skinner. A lot great comedy moments that unfortunately diluted the more serious points that Smith was trying to address. I’m not too sure what tone she was aiming for and for me, there wasn’t any emotional investment in any of the characters story arcs. On a more positive note, I did like the set design of Elaine’s house and the sound design was also nice. Overall, I am glad I didn’t end up paying big money for this one. Was everyone off book? Yeah. No iPads or line requests this afternoon. |
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Post by A.Ham on Nov 17, 2023 13:07:16 GMT
So I saw this last night - picked up a seat in row A of the stalls a few weeks back at a non-bank-breaking price thankfully.
Whilst I didn't dislike it, I'm glad I'd not paid big money to see it, and was definitely pleased I had a seat rather than the standing ticket I'd originally bought, as it did feel as though it was dragging in places.
It was a great chance to see KST and Lily James on stage, and I thought they both did a great job. The supporting cast were also strong, and I loved the set. I think what sadly let it down was the characters felt rather one-dimensional and in Greg's case somewhat stereotyped too. The #metoo themes, the roles of women, and how we're probably all to an extent caged in our lives by the choices we make fairly early in life came across (I liked the bird metaphor) but the script itself let them all down I felt. A 3/5 from me!
I'm glad to have seen it, as would have had FOMO if I'd not, but I enjoyed Backstairs Billy a couple of weeks ago far more. That's of course a lot lighter in tone, but it feels disappointing to me that Dame Penelope and Luke are playing to a fair few unsold seats, whilst Lyonesse performs to full houses over at the Pinter.
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Post by zahidf on Nov 17, 2023 22:53:30 GMT
I thought this well acted and funny in places, perfectly pleasant evening, but it falls apart in places plot wise. Writing was too blame really.
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Post by dlevi on Nov 23, 2023 7:38:06 GMT
I saw this last night and was astounded at how genuinely awful it was. The writing was sloppy and strictly first draft theatre. Ridiculously awkward exposition, a plot that makes little sense, and boy was it long. There was some joy in seeing KST let loose but I sat there wondering how this managed to get produced in the West End without a tryout anywhere. As someone said on here, if it had been done at Hampstead the critics wouldn't have been so harsh because it would've just been another bad Hampstead play, but at dizzying West End prices and with Sonia Friedman producing one has a reason to expect something much much better.
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Post by solotheatregoer on Nov 29, 2023 23:37:03 GMT
I genuinely don’t get the hate this is receiving. I honestly thought this was well acted and whilst long, I didn't feel like it dragged. I also eat my words from earlier in the thread where I questioned Lily’s acting abilities. I thought she was superb here and much better than when I saw her in All About Eve. I’m also glad I rarely pay attention to reviews. The only thing I didn’t like was the ending which wasn’t quite the satisfying conclusion I wanted after investing so much time getting to the end. Four stars.
KST was great as expected (very much gave Moira Rose vibes from Schitts Creek).
Not sure if anyone else was there tonight but there was a bit of drama during KST’s monologue where she was describing the events of her younger years for the first time. Someone in the middle of the stalls had to leave which caused a lot noise as everyone let her by. We then heard sobbing from outside. Not sure if there was some triggering content or completely unrelated but hope she’s doing ok now.
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Post by coco on Nov 30, 2023 9:58:07 GMT
I genuinely don’t get the hate this is receiving. I honestly thought this was well acted and whilst long, I didn't feel like it dragged. I also eat my words from earlier in the thread where I questioned Lily’s acting abilities. I thought she was superb here and much better than when I saw her in All About Eve. I’m also glad I rarely pay attention to reviews. The only thing I didn’t like was the ending which wasn’t quite the satisfying conclusion I wanted after investing so much time getting to the end. Four stars. KST was great as expected (very much gave Moira Rose vibes from Schitts Creek). Not sure if anyone else was there tonight but there was a bit of drama during KST’s monologue where she was describing the events of her younger years for the first time. Someone in the middle of the stalls had to leave which caused a lot noise as everyone let her by. We then heard sobbing from outside. Not sure if there was some triggering content or completely unrelated but hope she’s doing ok now. I personally rated it five stars and all my female friends loved it to the every minute. So I don't understand the reviews from the critics and the forum here. I think the performances that my friends and I went to all received good response from the audience. And one of my friends described that when Kate's husband was dismissing MeToo Movement, one of the audience (female, naturally) burst into anger and tried to argue with him. We were guessing that the scene may trigger some personal trauma. Regarding the ending, I personally love it. I think that's the only way for the play to end as it is so realistic. Any other ending would be an idealization of life, which is just not happening. But I'm not sure what others think of the ending, because when I went out (the second preview), some of the audience thought that Elaine died, which I don't agree with. Because to me, to have her story told in a distorted way is alreadying kiling her on the public stage. |
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