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Post by thaneofglamis on Oct 24, 2024 22:38:41 GMT
When people ask why I love going to the theatre so much, my answer is simple - to experience 5⭐️ shows like this one this afternoon. A 2hr 20 minute masterpiece of theatre from the pen of Mark Rosenblatt brought brilliantly to the Royal Court stage by Director Nick Hytner, his wonderful team and stellar cast. There have been few shows this year where all the pieces that make a great trip to the theatre come together nicely for me, but this has been one of them. Having thought I would miss out on seeing this as I didn’t book early on, a single ticket appeared late on in row L of the stalls and quite honestly I think this maybe be the bargain ticket of the year. £22 for what was a fantastic view and to watch top talent on stage led by a tour de force performance from John Lithgow. Though all the cast should get a mention, all playing their part here. If there is any justice in the world, this play should be getting a fair few awards at the next awards season. A really thought provoking and challenging play sprinkled nicely with some lovely moments of humour that really earned the standing ovation at the end. Whether it be script, set, lighting or casting, all hit the bullseye here. I haven’t been a regular at the RC like other members and the stuff I have seen has been ok but nothing that I thought wow, that was special until today. Well if this one is a sign of things to come, then I’ll happily sign up for more visits to the RC. I was in the same audience this afternoon and will just say ‘ditto’ because you’ve summed up my thoughts perfectly! I booked very early, based purely on Lithgow’s name, but as you say the whole cast were excellent - particularly Romola Garai in the closing scene of act 1. I think my tickets were £32 for dead centre of the third row dress circle and I also came out thinking what a great price this was for such great seats and the quality of the production. |
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Post by david on Oct 24, 2024 22:42:21 GMT
I was in the same audience this afternoon and will just say ‘ditto’ because you’ve summed up my thoughts perfectly! I booked very early, based purely on Lithgow’s name, but as you say the whole cast were excellent - particularly Romola Garai in the closing scene of act 1. I think my tickets were £32 for dead centre of the third row dress circle and I also came out thinking what a great price this was for such great seats and the quality of the production. Oh yes that Act 1 closing scene was just top drawer stuff watching it. |
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Post by avfan on Oct 28, 2024 16:29:49 GMT
Adored this on Saturday. Superb writing and a fantastic cast. I hope it has another life so I can watch it again. My favourite play of 2024.
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Post by Mark on Oct 30, 2024 12:48:05 GMT
Romola Garai is only in The Years transfer until 8/3. I’d imagine it’s because Giant is also transferring.
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Post by drmaplewood on Oct 30, 2024 13:07:33 GMT
Romola Garai is only in The Years transfer until 8/3. I’d imagine it’s because Giant is also transferring. Fawlty Towers ends on 1/3... |
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Post by Rory on Oct 31, 2024 0:17:06 GMT
Elliot Levey is playing Polonius in the Luke Thallon Hamlet until 29th March so maybe no transfer until April?
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Post by nash16 on Oct 31, 2024 11:48:01 GMT
When are the Oliviers next year?
They’ll want to get it on again to remind the panellists nearer voting time. Hope Elliot can do it.
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Post by theatrenerd on Oct 31, 2024 12:17:40 GMT
When are the Oliviers next year? They’ll want to get it on again to remind the panellists nearer voting time. Hope Elliot can do it. 6 April, but the eligibility cut off is usually mid-late February I believe. |
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Post by Dave B on Oct 31, 2024 12:23:55 GMT
6 April, but the eligibility cut off is usually mid-late February I believe. Almost certainly Friday 28th Feb. |
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Post by mattnyc on Nov 1, 2024 22:46:19 GMT
Oh, this was SO GOOD tonight. Not much to add to what others here have said but I just loved every second of it. Saw James Corden near me so that was...what it was.
The Royal Court website has a link to sign up "to be the first to hear about any future performances", so a transfer seems imminent, no?
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Post by Rory on Nov 1, 2024 22:48:53 GMT
Transfer is imminent. All social media handles and website getting ready for launch.
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Post by Jon on Nov 1, 2024 23:44:56 GMT
Transfer is imminent. All social media handles and website getting ready for launch. What are they out of interest? |
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Post by Rory on Nov 1, 2024 23:56:42 GMT
Transfer is imminent. All social media handles and website getting ready for launch. What are they out of interest? gianttheplay |
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Post by aspieandy on Nov 5, 2024 12:43:34 GMT
On a whim, I thought to try for a second look at this yesterday (£15 Monday’s) which turned out to be easier than anticipated. I first saw this six week ago at the second preview. Unusually, it seemed little has changed although, of course, you notice more. One thing I’d say now is, in terms of awards, this is a far better role (and performance) for Romola Garai to be nommed for than The Years (IMO!). When she and Lithgow go toe-to-toe it’s a thing of beauty. Exquisite. Magnificent writing and cast, plus a dizzying relevance to the moment. Hell of a thing. This has got Broadway written all over.
ETA oh sorry, I forgot this >>
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Post by nash16 on Nov 5, 2024 19:03:00 GMT
On a whim, I thought to try for a second look at this yesterday (£15 Monday’s) which turned out to be easier than anticipated. I first saw this six week ago at the second preview. Unusually, it seemed little has changed although, of course, you notice more. One thing I’d say now is, in terms of awards, this is a far better role (and performance) for Romola Garai to be nommed for than The Years (IMO!). When she and Lithgow go toe-to-toe it’s a thing of beauty. Exquisite. Magnificent writing and cast, plus a dizzying relevance to the moment. Hell of a thing. This has got Broadway written all over.
ETA oh sorry, I forgot this >>
Thanks for the interview. Would have missed that. Although their description on YouTube is slightly... "Thanks to events in the Middle East"? "He talks about his latest sell-out production, Giant, which thanks to events in the Middle East has become unexpectedly timely." |
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Post by jr on Nov 5, 2024 19:32:38 GMT
Thanks to means because of (Carmbridge dictionary).
It does sound weird but I believe it is correct.
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Post by aspieandy on Nov 5, 2024 19:51:46 GMT
or, in my lexicon, 'due to'
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Post by ronweasley on Nov 5, 2024 20:05:13 GMT
What is the £15 Monday?
This looks completely sold out now. Does anyone know if returns are listed on the website?
Thank you!
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Post by andrew on Nov 5, 2024 20:16:55 GMT
They operate an in person return system 90 mins before the performance and it’s been really easy to get tickets from what I’ve seen.
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Post by thaneofglamis on Nov 5, 2024 20:47:11 GMT
oh sorry, I forgot this >> [/div]
[/quote] Thanks for posting this. There’s also the on-stage post-show conversation between Mark Rosenblatt and David Byrne on the Royal Court’s YouTube channel: |
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Post by iwanttix on Nov 5, 2024 21:42:51 GMT
What is the £15 Monday? This looks completely sold out now. Does anyone know if returns are listed on the website? Thank you! Monday morning at 9am they put on sale the seats they haven't already sold to members for £15 each for that evenings performance. |
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Post by aspieandy on Nov 5, 2024 21:47:12 GMT
.. and there is no DP - returned tickets are resold also at £15 (everywhere in the House is £15 on Mondays).
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Post by rumbledoll on Nov 8, 2024 9:28:40 GMT
Voted 5 stars in a heartbeat, now reading all your rich thoughtful reviews no longer afraid to accidentally catch a spoiler, nothing to add just in complete awe of writing, staging and performances. Picked up a script which I rarely do these days! I just love complicated, thought-provoking plays like this, and some things just time themself so perfectly you would not believe.. I also felt deeply related in a sense being from a country that recently intentionally engaged in a war, another war which I don’t personally support, but still there are people who don’t shy from generalisation when they talk about my nation either..
In hopes for a transfer, will urge everyone I know to see it, but such a privilege to enjoy it in the scruffy and cozy Royal Court, it has so much character, this venue.
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Post by jr on Nov 10, 2024 6:13:24 GMT
Reading the reviews and comments here I was expecting to be blown away by this play. It did not happen. John Lithgow is one of my favourite actors and he was fantastic. I could see Dahl and not him, which is what I expect from an actor. How he manages the changes of mood and goes from bully to childish to loving is a joy to watch. All the other actors are very good, though I found Romola Garai a bit over the top. I wasn't convinced at first by Rachel Sterling's character but it grew on me and I think it vertebrates the play, she is the only one able to (kind of) manage Dahl and make the other characters work together. Unfortunately, as a play of ideas, if you more or less follow politics, it does not add anything new. These arguments pro and against the Israel state have been going on for decades. On that topic Oslo is a much better play. I was far more interested in the personal and also the publishing side of it and I did not get enough of it. Without spoiling anything, the telephone conversation near the end is a nice touch, you don't really know if Dahl is being provocative or those are his real thoughts, I wish there were more scenes like that one. Mr Hytner decided to stage the last part of the play on the very right side of the stage (audience right) so that made the people sitting on that side unable to see anything, I would expect better from a seasoned director. I also found the ending very flat. For me it was a good play with very good acting but far from a masterpiece. I will look for the original Dhal review and the press row that followed. * Just found them. The original Dahl review: reader.exacteditions.com/issues/36936/page/3The reply on The Spectator mentioned on the play (a scan so it has some transcribing errors but it is readable): reader.exacteditions.com/issues/36936/page/3 |
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Post by aspieandy on Nov 10, 2024 9:36:41 GMT
All the other actors are very good, though I found Romola Garai a bit over the top. I wasn't convinced at first by Rachel Sterling's character but it grew on me and I think it vertebrates the play, she is the only one able to (kind of) manage Dahl and make the other characters work together. I think you do Garai an injustice.
We’ve seen in the past week illustrations of the differences between UK and US media presentations of issues; the US public now driven half mad by relentless and unbridled clickbait hysteria. It is no different when it comes to Israel – in US media presentation of events, everything is a catastrophe, a response to catastrophe or, if you’re lucky, a precursor to catastrophe. In 1983 – the period of this play (so pre internet, pre social media) – tensions were heightened because of events in southern Lebanon (though I can’t remember things being as irrational as they are now). The difference between US and UK Jewish attitudes towards Israel is an important theme in the play – and it’s depicted in the approach of the two literary agents. For me, one of the best lines is when the US agent is demanding of the UK agent what he thinks would happen if Jews were no longer welcome in this country – perhaps implying some kind of mass deportation or worse. She says something along the lines of ‘where would you go, where would you go!?!’ (I can't wholly remember if it's repeated) – as is there was nowhere other than to try and escape to Israel. The UK agent responds with a shrug and ‘I dunno …. Provence ..’. (drawing one of the biggest laughs of the evening). In some measure, the point of the two agents is to show that cultural divide. RG is playing the scripted role. |
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