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Post by partytentdown on Feb 21, 2020 8:24:32 GMT
Late to the party but I did rather enjoy this last night, long but the time goes by quickly thanks to some engaging performances. Bartlett lays on the brexit metaphors thick and fast but it's quite fun working out who or what each character represents.
There's also quite a nice shirtless gardener moment for those interested in that sort of thing.
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Post by asfound on Feb 21, 2020 9:16:13 GMT
There's also quite a nice shirtless gardener moment for those interested in that sort of thing. I don't think I will ever not find it amusing when the character that is supposed to be the typically bookish shy and awkward and gangly one has to take of his top and reveal the standard actor's washboard 8-pack abs. |
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Post by dave72 on Feb 21, 2020 13:05:57 GMT
There's also quite a nice shirtless gardener moment for those interested in that sort of thing. I don't think I will ever not find it amusing when the character that is supposed to be the typically bookish shy and awkward and gangly one has to take of his top and reveal the standard actor's washboard 8-pack abs. Point taken, but this is actually specified in the stage direction: "GABRIEL enters. He's got his top off. Six months of work in the garden has had an effect. He's fit, and muscular..." |
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Post by londonpostie on Feb 25, 2020 23:51:09 GMT
Reverting to a 'son of the soil' I thought ... (after a fanciful dalliance with aspiration) After a few false starts finally got to see this. I thought it was fair and balanced, and that Bartlett covered the important bases. It's difficult becasue different people are obv. at different places on different aspects - sometimes it will seem trowelled on, other times it might pass you by.
Some bold choices, I thought. No ducking.
I admire Mike Bartlett for taking this approach - 4 main parts were female, and all emotionally rounded. Ouf. |
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Post by Dave B on Feb 26, 2020 11:54:37 GMT
Saw it lat night, enjoyed it. Great cast.
Wish I'd read through this thread in detail before booking my seats. We have 'our' seats at Almedia, they are suppose to be restricted view as there's a pillar in the way but they have never been an issue.
*sigh*
This stage configuration lined up two pillars basically blocking the centre of the stage, so it was for a change a very restricted view.
Oh well, live and learn. Do think I might keep an eye on Rush tickets for anything there. People seem to be doing well out of them.
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Post by fossil on Feb 26, 2020 17:40:59 GMT
Saw it lat night, enjoyed it. Great cast. Wish I'd read through this thread in detail before booking my seats. We have 'our' seats at Almedia, they are suppose to be restricted view as there's a pillar in the way but they have never been an issue. *sigh* This stage configuration lined up two pillars basically blocking the centre of the stage, so it was for a change a very restricted view. Oh well, live and learn. Do think I might keep an eye on Rush tickets for anything there. People seem to be doing well out of them. You had bad luck there. I had a £10 restricted view seat D11 which was about midway at the side of the stage. Although I had a pillar in front of me (slightly stage side) thanks to the way the play is staged I found it hardly bothered me at all and I had a mostly excellent view. Most of the time I had a good view of all the actors and with nobody behind me could easily move my head slightly when an actor was in line with the pillar. Full marks to the FOH staff who offered to seat the two standees near me as a few people had not returned after the interval. |
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Post by digne on Feb 27, 2020 12:05:05 GMT
I saw the matinee yesterday and quite enjoyed this - I didn't actually notice time passing which surprised me when I came out of the theatre and saw how late it was.
I had a cheap seat since they filmed this performance and every now and then a cameraman blocked my view, but on the upside before it started Rupert Goold came on stage and told us that it will be shown on the BBC in spring.
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Post by londonpostie on Feb 27, 2020 12:19:55 GMT
I do have some thoughts on it, but does anyone want to say anymore about the metaphor / relationship of the friend and daughter (perhaps in spoiler code)?
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Post by partytentdown on Feb 27, 2020 19:55:31 GMT
I do have some thoughts on it, but does anyone want to say anymore about the metaphor / relationship of the friend and daughter (perhaps in spoiler code)? {I understood it to mean...}
the mother forcing the breakup of the daughter and the 'exotic', creative, quietly successful older woman, who had always been a quiet and supportive friend, to be a metaphor for the older generation of the UK essentially making a choice on behalf of the young people of the UK to be separated from Europe and all the potential opportunities it presents for them (i.e the writer was going to help the daughter find success with her work).
Maybe? |
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Post by londonpostie on Feb 27, 2020 22:14:52 GMT
Thanks. yes, I think so. The daughter was truly in love, her mother forced a separation, then the daughter had a difficult emotional time in public - throwing coffee over her lover - and declaring her life had been ruined. Emotionslly led, she was of course swapping one aged hierarchy/institution for another ... Allegedly. |
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Post by n1david on Aug 5, 2020 15:58:13 GMT
TV broadcast confirmed for Sunday August 16th, BBC4, 2210 - 0100.
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Post by Forrest on Aug 5, 2020 18:51:45 GMT
I really didn't enjoy this much at the Almeida. Curious to see if a long time without theatre has made me "softer" (i.e. if I'll enjoy it more).
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Post by n1david on Aug 14, 2020 12:38:58 GMT
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Post by londonpostie on Aug 14, 2020 21:53:21 GMT
I remember at times thinking this is blunt or this is bland but then, on several occasions,thinking there are perceptions and insights here that no other work has manifested. If nothing else it's an entertaining - and pretty fairly balanced IMO - primer on the subject who's name shall not be spoken ..
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Post by crowblack on Sept 13, 2020 9:05:54 GMT
Just got back from this. What a mess. It seemed like it was being pulled in all directions, with no logic at all. The characters were wildly inconsistent and the plot was totally incoherent. It's a shame because the central performance by Victoria Hamilton was outstanding, and there were some very good moments. All in all, if completely re-written it's possible something could be salvaged. Expecting the critics to tear this apart. Well I've finally caught up with this on iplayer and I have to agree! I'm amazed by the glowing reviews: the performances were strong, but the play was all over the place, distractingly derivative and the characterisation was thin bordering on ludicrous. |
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