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Post by Deleted on Oct 21, 2017 15:29:59 GMT
When I have my own theatre the interval snacks will include cosmic brownies, and pink custard. With marshmallows? |
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Post by martin1965 on Oct 21, 2017 15:37:13 GMT
We used to have hot madelines at school They used to make them for tuck time I think I probably speak for most board members when I say that we did not have hot madeleines at school. (BTW your school might have taught you how to spell them properly) Indeed, i dont know what they are anyhow. I thought the previous poster was whinging about a cocktail!! |
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Post by lynette on Oct 21, 2017 15:37:30 GMT
Little packets of goujons and chips followed by Chocolate cherry liqueurs.
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Post by martin1965 on Oct 21, 2017 15:40:24 GMT
The Bridge is like a supersized version of the Dorfman and the location is fantastic, there are plenty of restaurants and places to eat and contrast to what Parsley has said, it isn't too far from London Bridge station, it was a 10-15 minute walk. Oh, and the madeleines are very nice and a good alternative to an ice cream. The play itself was very good, Rory Kinnear and Oliver Chris give very strong performances and while I don't think it'll be the next One Man, Two Guvnors, it's an entertaining night out. The theatre has huge potential, I wonder if they be able to attract the likes of James Graham, Mike Bartlett or Jez Butterworth to debut their new plays rather than the National or the other subsided theatres. Its the size of this theatre that some of us have our doubts about. 800 plus seats is a big big ask to fill, especially with no arts council safety net. |
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Post by Deleted on Oct 21, 2017 17:09:45 GMT
Little packets of goujons and chips followed by Chocolate cherry liqueurs. Lovely |
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Post by lynette on Oct 21, 2017 23:23:46 GMT
I’m a bit tired but must just briefly post.
Well, I love the theatre: lively buzzy foyer ( far superior to Dorfman that funeral parlour) lit by v trendy lights with a long bar to the right, uniformed bar staff with nice snacks you can buy tho not cheap, fab location with magical views across to the Tower, Tower Bridge and stuff- will be amazing in the summer - welcoming staff and plenty of them and plenty of toilets in a big space with nice soap ( they won’t be able to afford that for long) In fact amazing toilets so that they are not an issue in this place.
Seats pleasant with leather edges, v comfortable and enough leg room. The galleries have a touch of the RSC Theatre. Will be interesting to see how they reconfigure for different shows as they say they will. Neat programme with interesting background pieces.
One gripe they must address: difficult to leave in interval from stalls as only two narrow exits. I think there is another way round but everyone was commenting on it.
Madeleines were v nice. They need a cuppa to go with as they are a teensy bit too sweet.
The play? I’ll post tomorrow. Tonight it was all about the venue.
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Post by Deleted on Oct 21, 2017 23:26:44 GMT
I’m a bit tired but must just briefly post. Well, I love the theatre: lively buzzy foyer ( far superior to Dorfman that funeral parlour) lit by v trendy lights with a long bar to the right, uniformed bar staff with nice snacks you can buy tho not cheap, fab location with magical views across to the Tower, Tower Bridge and stuff- will be amazing in the summer - welcoming staff and plenty of them and plenty of toilets in a big space with nice soap ( they won’t be able to afford that for long) In fact amazing toilets so that they are not an issue in this place. Seats pleasant with leather edges, v comfortable and enough leg room. The galleries have a touch of the RSC Theatre. Will be interesting to see how they reconfigure for different shows as they say they will. Neat programme with interesting background pieces. One gripe they must address: difficult to leave in interval from stalls as only two narrow exits. I think there is another way round but everyone was commenting on it. Madeleines were v nice. They need a cuppa to go with as they are a teensy bit too sweet. The play? I’ll post tomorrow. Tonight it was all about the venue. 100% agree The two exits at back are a silly Idea I was in the front row stalls Nightmare to try and leave |
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Post by Ade on Oct 21, 2017 23:50:53 GMT
Was there tonight as well. Row A of the stalls, so had the same problem that everyone else is reporting. That said it probably added a maximum of 3-4 mins to leaving the auditorium, which in the scheme of things wasn’t too bad. The theatre is lovely though - so nice to have plenty of space in both the foyer and the leg space department. Slight aside but I found the flooring in the stalls a little odd - a little bit village hall bargain lino rather than nice carpeting.
The play itself was all a bit average for my liking. It was a perfectly pleasant evening but it never quite felt like it found its feet. At no point did it feel that it quite knew what it actually wanted to be. Some solid casting. That said I came out preferring the female cast to the male. A lovely set by Mark Thompson made good use of the space too.
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Post by Deleted on Oct 22, 2017 0:22:49 GMT
Was there tonight as well. Row A of the stalls, so had the same problem that everyone else is reporting. That said it probably added a maximum of 3-4 mins to leaving the auditorium, which in the scheme of things wasn’t too bad. The theatre is lovely though - so nice to have plenty of space in both the foyer and the leg space department. Slight aside but I found the flooring in the stalls a little odd - a little bit village hall bargain lino rather than nice carpeting. The play itself was all a bit average for my liking. It was a perfectly pleasant evening but it never quite felt like it found its feet. At no point did it feel that it quite knew what it actually wanted to be. Some solid casting. That said I came out preferring the female cast to the male. A lovely set by Mark Thompson made good use of the space too. Personally I found the seating hard and not very comfortable The actual seat is not padded And the back is not deep And the seats rock about Nothing as good as Royal Court Or ROH seats |
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Post by martin1965 on Oct 22, 2017 8:28:40 GMT
I’m a bit tired but must just briefly post. Well, I love the theatre: lively buzzy foyer ( far superior to Dorfman that funeral parlour) lit by v trendy lights with a long bar to the right, uniformed bar staff with nice snacks you can buy tho not cheap, fab location with magical views across to the Tower, Tower Bridge and stuff- will be amazing in the summer - welcoming staff and plenty of them and plenty of toilets in a big space with nice soap ( they won’t be able to afford that for long) In fact amazing toilets so that they are not an issue in this place. Seats pleasant with leather edges, v comfortable and enough leg room. The galleries have a touch of the RSC Theatre. Will be interesting to see how they reconfigure for different shows as they say they will. Neat programme with interesting background pieces. One gripe they must address: difficult to leave in interval from stalls as only two narrow exits. I think there is another way round but everyone was commenting on it. Madeleines were v nice. They need a cuppa to go with as they are a teensy bit too sweet. The play? I’ll post tomorrow. Tonight it was all about the venue. Well at least you found it ok! |
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Post by lynette on Oct 22, 2017 10:25:51 GMT
So on to the play: I’m a great fan of Kinnear and would have turned up for him reading from the yellow pages...and here he certainly does put in a good performance. But..and there are many buts for me..he doesn’t convince me. When he spouted the political rhetoric which went on to change the world it was incomprehensible. I think Bean made a mistake including so much of it. Engel's description of the mill workers in Manchester was the heart of the play. I’m not sure if it was a quote or a near quote but it was in understandable English and very affecting. It showed up the rhetoric and brought Marx back to reality in the play and I suspect in real life. Engels was indeed the heart of the play. He was the most rounded character. Who'd a thought? The other characters reminded me of cartoon characters or those stickers in children's books that you can peel off and plonk on a scene. Nancy Carroll as we know and have witnessed can break your heart standing still at the side of a stage ( After the Dance) but here she was all wry smiles and a bit crumpled when frankly her life was seen to be unbearable. And it wasn’t her fault. She had nothing to chew on, the writing was all cute jokes and contemporary references that made us chuckle at ourselves but had nothing to do with the drama before us. Bean is the class clown isn’t he? Very good with one liners and people dashing about the stage. The scene in the library was stupid and unnecessary and Hytner should have cut it. The show is slick but shallow. Apparently Bean acquired the idea from friends who are writing an opera on the same subject so maybe the opera form will suit the subject better. Or perhaps Bean is right and it is time to reduce one of the most important voices of the nineteenth century, believe what you like about communism and so on, to a man hiding in a cupboard.
However, it was entertaining for an evening out. We didn’t discuss it on the way home whereas we had been ranting and arguing and picking apart all the way home after both Oslo and the Enoch Powell play. Says something. Maybe I was tired.
I won’t say more because it would spoil it for others who haven’t seen it yet and don’t know about Marx's personal life.
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Post by firefingers on Oct 23, 2017 21:52:44 GMT
Theatre:
I liked it. Great sight lines and lots of mod cons. Could have done with more comfy seating in the foyer, but guess they don't want people hogging then I guess. Heard people were struggling to hear at the back of the stalls but I was pretty near the front in the lowest gallery. Decent leg room in my row B seat, but the balcony fronts are concave so loads of room for legs but a bit of a challenge when letting people past.
Play:
It's alright. Nothing spectacular and a bit confused if it wants to be an all out comedy or not. Staging was fantastic mind, loved the set and can forgive the odd bang from up stage. Decent enough performances, think the script itself is the problem. Not terrible, perfectly fine for 30 quid but certainly not the rave I'm sure they'd hope for for a first show.
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Post by Ade on Oct 24, 2017 5:15:52 GMT
Was there tonight as well. Row A of the stalls, so had the same problem that everyone else is reporting. That said it probably added a maximum of 3-4 mins to leaving the auditorium, which in the scheme of things wasn’t too bad. The theatre is lovely though - so nice to have plenty of space in both the foyer and the leg space department. Slight aside but I found the flooring in the stalls a little odd - a little bit village hall bargain lino rather than nice carpeting. The play itself was all a bit average for my liking. It was a perfectly pleasant evening but it never quite felt like it found its feet. At no point did it feel that it quite knew what it actually wanted to be. Some solid casting. That said I came out preferring the female cast to the male. A lovely set by Mark Thompson made good use of the space too. After a good few months of pretending my blog doesn’t exist I decided to post my thoughts on this one. Here’s a link for anyone interested: thewestendwanderer.wordpress.com/2017/10/23/review-young-marx-bridge-theatre-london/ |
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Post by Jan on Oct 24, 2017 6:45:46 GMT
So on to the play: I’m a great fan of Kinnear and would have turned up for him reading from the yellow pages...and here he certainly does put in a good performance. But..and there are many buts for me..he doesn’t convince me. When he spouted the political rhetoric which went on to change the world it was incomprehensible. I think Bean made a mistake including so much of it. Engel's description of the mill workers in Manchester was the heart of the play. I’m not sure if it was a quote or a near quote but it was in understandable English and very affecting. It showed up the rhetoric and brought Marx back to reality in the play and I suspect in real life. Engels was indeed the heart of the play. He was the most rounded character. Who'd a thought? The other characters reminded me of cartoon characters or those stickers in children's books that you can peel off and plonk on a scene. Nancy Carroll as we know and have witnessed can break your heart standing still at the side of a stage ( After the Dance) but here she was all wry smiles and a bit crumpled when frankly her life was seen to be unbearable. And it wasn’t her fault. She had nothing to chew on, the writing was all cute jokes and contemporary references that made us chuckle at ourselves but had nothing to do with the drama before us. Bean is the class clown isn’t he? Very good with one liners and people dashing about the stage. The scene in the library was stupid and unnecessary and Hytner should have cut it. The show is slick but shallow. Apparently Bean acquired the idea from friends who are writing an opera on the same subject so maybe the opera form will suit the subject better. Or perhaps Bean is right and it is time to reduce one of the most important voices of the nineteenth century, believe what you like about communism and so on, to a man hiding in a cupboard. However, it was entertaining for an evening out. We didn’t discuss it on the way home whereas we had been ranting and arguing and picking apart all the way home after both Oslo and the Enoch Powell play. Says something. Maybe I was tired. I won’t say more because it would spoil it for others who haven’t seen it yet and don’t know about Marx's personal life. When you say Bean acquired the idea from friends who were writing an opera about it do you mean he bought it from them ? Because with this production their chances of staging an opera production on the same topic are zero. |
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Post by zahidf on Oct 24, 2017 21:44:34 GMT
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Post by lynette on Oct 24, 2017 21:48:25 GMT
It says in the prog, Jan, he was approached by friends and they are doing an opera. Coming on next yr. I’ll find the prog and be more precise later.
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Post by Jan on Oct 25, 2017 3:49:57 GMT
Interesting comments from Hytner to some uninspired questions. Very gracious of Hytner, wonder how he feels to have the adolescent interviewer (male, white) moan that Hytner was “vague on diversity” |
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Post by Deleted on Oct 25, 2017 6:43:59 GMT
That song thing is amazing! I must look it up. I always appreciate it when adolescents who think they know it all are gently reminded that they won't always be young and we've all been there. |
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Post by zahidf on Oct 25, 2017 7:35:14 GMT
Interesting comments from Hytner to some uninspired questions. Very gracious of Hytner, wonder how he feels to have the adolescent interviewer (make, white) moan that Hytner was “vague on diversity” Its basically the full transcript from the time out interview he did this week |
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Post by zahidf on Oct 25, 2017 7:36:39 GMT
Interesting comments from Hytner to some uninspired questions. Very gracious of Hytner, wonder how he feels to have the adolescent interviewer (make, white) moan that Hytner was “vague on diversity” Its basically the full tranacript from his time out interview |
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Post by profquatermass on Oct 25, 2017 9:12:43 GMT
Interesting to see people's definition of adolescent. The interview appears to be in his late 20s at least (I'd guess 30) and has a child (yes, I looked him up on Facebook). When do you consider someone old enough to have their own opinions?
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Post by bordeaux on Oct 25, 2017 9:48:01 GMT
I wonder if the new Branden Jacobs-Jenkins play is Everybody - see the following from wikipedia:
His new play Everybody is produced Off-Broadway by the Signature Theatre, and opened on January 31, 2017 in previews, officially on February 21. The play is "a modern riff on one of the oldest plays in the English language." Everbody is suggested by the 15th-century morality play Everyman. Directed by Lila Neugebauer, the cast includes Jocelyn Bioh, Brooke Bloom, Michael Braun, Marylouise Burke, Louis Cancelmi, Lilyana Tiare Cornell, David Patrick Kelly, Lakisha Michelle May and Chris Perfetti. The role of Everybody is chosen by lottery. Jacobs-Jenkins explained the play: "The concept...is that every night there’ll be a different Everyman, chosen by lottery, so the cast will shift a lot. This may be an insane idea. We’re assuming all these lovely actors are going to memorize the entire script.”
Or if it's a world premiere.
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Post by Deleted on Oct 25, 2017 9:54:40 GMT
Interesting to see people's definition of adolescent. The interview appears to be in his late 20s at least (I'd guess 30) and has a child (yes, I looked him up on Facebook). When do you consider someone old enough to have their own opinions? I don’t know anything about him or have any views on his opinions – I thought his question was a funny and unwittingly a bit rude example of how your perception of age changes as you age (which is why I thought he came across as very young). “Hey grandad, is this going to be your last job? Cos, you know, you’re over 60, you’ll probably be dead soon.” That ok with you, youngster? <insert winking smiley to indicate joke, which obv I'm too old to know how to do> |
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Post by Jan on Oct 25, 2017 10:29:31 GMT
Interesting to see people's definition of adolescent. The interview appears to be in his late 20s at least (I'd guess 30) and has a child (yes, I looked him up on Facebook). When do you consider someone old enough to have their own opinions? My definition is the dictionary definition: a synonym for "immature". This is really quite a common use of the word, I did not think he was literally an adolescent. Another example of this usage would be "I don't watch QI because of Alan Davies' adolescent sense of humour", I'm well aware he's 51 years old. There is no age limit at all on having opinions, but there is also no age limit in regarding those opinions as being immature. |
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Post by Deleted on Oct 25, 2017 10:59:00 GMT
Lukowski’s a good reviewer (and I’m not big on reviewers as a whole), he engages with the more academically oriented theatre bloggers/writers rather than the Billington/Letts establishment though, as befits his not quite middle age status. If you don’t know who he is then you might miss the deliberately faux naif questioning, which shows Hytner off very well (and his relaxed approach is one that allows for it, yet there are others who would bridle at it).
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