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Post by indabe on May 18, 2024 9:55:46 GMT
*Spoilers*
First saw it at the Wyndham in 2016. Then again Thursday when I bought rush tickets £25 each through todays Tix, good seats Dress Circle 8/9 no one in front of us, so really good view of stage and actors.
A number of empty seats, however quite a few people came in for the second act only.
I didn’t engage with it this time around, realised I’d blocked a lot of the first act as it starts to bore. It seemed a little dated. Nothing new has been brought to the table, same director and actress, albeit this was written for her.
Denise’s performance is still a power house, she owned every part of the stage.
I found the first act dragged. The group counselling sessions went on far too long. No real issues were explored by the therapist (made me question her ability), just role play situations which were a poor imitation of Gestalt therapy, the other actors under utilised. Foster’s demise was tacked on with a brief reference to a new trauma, resulting in pain, loss and grief.
The same with Emma, who goes from, overly good time recreational use, chaos to rock bottom, with none of her triggers shown. It’s only in the final act that we see the family dynamics and
dysfunction
exposed and Emma’s trauma is more deep rooted than the death of her brother.
If you haven’t seen it before, it’s worth going. Can’t see a reason to see it twice.
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Post by david on May 18, 2024 21:54:10 GMT
Having loved this one I watched it back in its Wyndham’s run, I had no hesitation in booking for this again at the Trafalgar theatre. Having watched it from the stalls on my first viewing, I decided to opt for the on stage seating for today’s matinee and I will say it was worth every penny and I have no hesitation in recommending to people to do the same. Denise Gough repeats her tour de force performance in this outing and being so close really added another layer to my enjoyment this afternoon.
With a good few years passing between viewings, I thought the play held up very well on a second viewing and is still able to provide enough emotional impact. The conversation scene at the end with Emma and her parents in her bedroom still hit as hard today as it did on my first viewing. With the tough subject matter of addiction being examined, I thought tonally this play worked better than A Little Life in allowing some light relief from the harder hitting moments. Comparing the overall experience between PPT and ALL, for me personally, I got more out of PPT simply because I think there was a better balance of light and dark moments.
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Post by drmaplewood on May 19, 2024 15:20:35 GMT
I was sat in the stage seats for the matinee yesterday too, we must have been neighbours!
3rd time seeing this (the original NT run and then again at the Wyndhams) and still packs a hell of a punch. A shame to see so many empty seats though. Have they overpriced this?
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Post by david on May 19, 2024 15:33:51 GMT
I was sat in the stage seats for the matinee yesterday too, we must have been neighbours! 3rd time seeing this (the original NT run and then again at the Wyndhams) and still packs a hell of a punch. A shame to see so many empty seats though. Have they overpriced this? I was in C4. |
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Post by theatremiss on May 19, 2024 16:23:09 GMT
I missed this the first time around, but made Sat’s matinee from row B stalls. What a fantastic piece of theatre. I am back in a few weeks but sat in the stage so I’ll be interested to see what I get from a different perspective
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Post by clarefh on May 19, 2024 17:19:33 GMT
I was on the stage seats for this Saturday evening. Really enjoyed the experience actually, it was a pretty full house and I loved how you got to experience the energy of the audience. Almost made me want to return to my school days of am dram 😂.
Also agree with others that Denise Gough’s performance is extraordinary and it is a well crafted and written play.
I was less affected by it that I expected to be however. Or rather less moved. I do suspect that this is a play that anyone who has experienced alcoholism in their own lives in friends/family will bring their own experience of that to the play. For example I found it hard to laugh at the lighter moments as I’ve seen that behaviour ( although I guess that meant it was well observed) and some aspects seemed quite trite. However I can fully accept for others this may be very real to them and their experience. Still glad I saw it.
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Post by lt on May 19, 2024 17:36:09 GMT
I was on the stage seats for this Saturday evening. Really enjoyed the experience actually, it was a pretty full house and I loved how you got to experience the energy of the audience. Almost made me want to return to my school days of am dram 😂. Also agree with others that Denise Gough’s performance is extraordinary and it is a well crafted and written play. I was less affected by it that I expected to be however. Or rather less moved. I do suspect that this is a play that anyone who has experienced alcoholism in their own lives in friends/family will bring their own experience of that to the play. For example I found it hard to laugh at the lighter moments as I’ve seen that behaviour ( although I guess that meant it was well observed) and some aspects seemed quite trite. However I can fully accept for others this may be very real to them and their experience. Still glad I saw it. I guess it partly depends on how one uses humour in difficult situations? Personally, I've always found it a release of pressure. |
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Post by clarefh on May 19, 2024 17:43:21 GMT
lt- I’m probably not expressing myself very clearly. I don’t have a problem with the use of humour generally at all, and certainly don’t think plays about serious matters need to be serious ( quite the opposite). Not sure how to phrase this correctly - more that for me I have seen that personality characteristic ‘used’ to charm etc ( which I get is actually part of the point here) so rather than it being light/funny it actually made me feel anger towards the character? But as I say this is a very personal take and I don’t in any way claim my experience of alcoholism is the correct one! Or that this is necessarily a reflection on the play. I do think for some it will be a very difficult watch. My friend went earlier in the run and had to leave as for her it wasn’t realistic. On reflection I possibly shouldn’t have added that observation - I guess I just wanted to reflect that this was not as shocking/moving or nuanced portrayal of alcoholism as I was perhaps expecting. The bit I did find really struck home was the final name ( don’t want to spoil and not sure how to do spoilers).
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Post by lt on May 19, 2024 21:06:30 GMT
lt- I’m probably not expressing myself very clearly. I don’t have a problem with the use of humour generally at all, and certainly don’t think plays about serious matters need to be serious ( quite the opposite). Not sure how to phrase this correctly - more that for me I have seen that personality characteristic ‘used’ to charm etc ( which I get is actually part of the point here) so rather than it being light/funny it actually made me feel anger towards the character? But as I say this is a very personal take and I don’t in any way claim my experience of alcoholism is the correct one! Or that this is necessarily a reflection on the play. I do think for some it will be a very difficult watch. My friend went earlier in the run and had to leave as for her it wasn’t realistic. On reflection I possibly shouldn’t have added that observation - I guess I just wanted to reflect that this was not as shocking/moving or nuanced portrayal of alcoholism as I was perhaps expecting. The bit I did find really struck home was the final name ( don’t want to spoil and not sure how to do spoilers). I think it's absolutely fine to add that observation, theatre is a very personal experience, so that means we will frequently have a very different reaction to a play or theme, particularly when personal experience is involved. |
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Post by theatrefan77 on May 20, 2024 0:01:04 GMT
I saw this in the front row stage seating. Thought Denise Goug's performance was as wonderful if not better than when I saw it nine years ago at the Whyndham"s theatre.
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Post by sph on May 21, 2024 14:27:01 GMT
One little plot point that bothered me: {Spoiler - click to view}
If Emma's flat is in London, and her parents live in Ireland, how did her mother smuggle a great big box of drink and drugs from one country to another back to her house. And would she realistically have kept them all anyway? |
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Post by lt on May 21, 2024 14:39:50 GMT
One little plot point that bothered me: {Spoiler - click to view}
If Emma's flat is in London, and her parents live in Ireland, how did her mother smuggle a great big box of drink and drugs from one country to another back to her house. And would she realistically have kept them all anyway? Did we know definitely that her parents lived in Ireland? Regardless, if travelling by car carrying all the stuff from Emma's flat, her mother would be extremely unlikely to be searched, if taking the ferry & driving to NI, and then driving down to the south. |
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Post by sph on May 21, 2024 14:56:56 GMT
I can't remember if it was ever said outright, but Emma does make it clear that she used to have a thick Dublin accent, which she lost in drama school. The house is also shown to be her childhood home with all of her things in her bedroom as it was, so to me that implies that the house is somewhere in the Dublin area. Yes it's true that a car is less likely to be searched, but it's still a bit of a suspension of disbelief to accept that a person would attempt to cross any kind of border with that kind of cargo.
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Post by lt on May 21, 2024 15:22:17 GMT
I can't remember if it was ever said outright, but Emma does make it clear that she used to have a thick Dublin accent, which she lost in drama school. The house is also shown to be her childhood home with all of her things in her bedroom as it was, so to me that implies that the house is somewhere in the Dublin area. Yes it's true that a car is less likely to be searched, but it's still a bit of a suspension of disbelief to accept that a person would attempt to cross any kind of border with that kind of cargo. I think you are imagining this is a border control with passport checks etc. But you don't even stop at the border between NI and the south Ireland. The only indication you have crossed the border is that the speed limit signs change from mph to kph. |
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Post by sph on May 21, 2024 15:36:04 GMT
I'm Irish, I understand how the borders work. Thank you.
What I mean is that no sane person would drive all the way from London up to a crossing point to Northern Ireland, only to drive all the way back down through Ireland to get to Dublin. It's illogical regardless of how the borders work.
Even if a direct ferry to Dublin was taken, no one in their right mind would risk smuggling something like that with them.
The point I am making is that it is totally illogical behaviour, no matter how possible it is.
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Post by Steve on May 22, 2024 17:46:44 GMT
I saw this in the Stalls at the Dorfman in previews in 2015, and now for the second time, 9 years later, I was on stage at the Trafalgar. In 2015, I loved it for Denise Gough, who in my mind is an acting legend (her performance in "Adler & Gibb" is an all-time favourite of mine), but I recall stating on the old, long defunct, Whatonstage Board that this play felt like a simple account of a patient going through a typical program, insinuating it might have been super easy to write, and that Gough was elevating the play by her searing performance. I've changed my mind about the play. If it was so easy to write, there would have been umpteen copies in the last 9 years, and there just haven't been. Further, the character of the protagonist is much more unique than I twigged originally, and she still holds mysteries for me even after 9 years and 2 viewings. Some spoilers follow. . . The onstage seating at the Trafalgar is really wonderful, the way it makes you feel you are in on a big secret, being behind the curtain and able to see the stage before the play starts. Then you realise the audience will see you too when the play starts, and you get a little nervous about being on display. And then the show starts and is so involving that you forget to be self-conscious lol. I love the humour in the play, the way we are encouraged to identify with the ultra-intelligent protagonist patient, and her uber-witty, unhinged undercutting of the staff at every turn. And then I love how our laughter is undercut, just as she is undercut, when the full seriousness, the massive stakes for all the characters, becomes clear. The ending hit me harder this time than the first time, maybe because I wasn't underestimating the play this time. Among the ensemble, I loved Danny Kirrane, Malachi Kirby and Sinead Cusack, who each bring so much empathetic humanity to bear, absorbing the barbs of the protagonist with sensitivity and grace. And wow, its so good to have Denise Gough back on stage again. She's a moment to moment marvel. Its a very special performance in a very special play, and the stage seats are a very special place to see it from. 4 and a half stars from a chastened me.  |
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Post by parsley1 on May 22, 2024 18:16:31 GMT
Left this at the interval
Found it unrealistic, cliched, dated and boring
Sinead Cusack is particularly awful
At least Barbara Marten had presence in the role
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Post by edi on May 22, 2024 19:41:05 GMT
I liked large chunks of it but the therapy session really dragged on for me, lost my concentration which wasn't helped that I couldn't understand all the supporting casts' diction.
When I liked it I REALLY liked it, though.
Many empty seats yesterday
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Post by capybara on May 22, 2024 21:53:14 GMT
Yeah, I just couldn’t get into this. It’s so frustrating because when a musical doesn’t quite land punches, there’s usually some aspect of the piece that one can cling onto as a positive. Plays, for better or worse (well, worse), are left far more exposed.
And perhaps it’s a lesson for me to stop booking plays based on hype and positive reviews. At the end of the day, certain styles click with you and this certainly did not. But the first thing to say is that Denise Gough (playing Emma, Rachel, Sarah? I lost track) is an absolute powerhouse. I’d love to see her in something with a bit more verve to it.
Duncan Macmillan’s play is about rehabilitation and the impact on those trying to support an addict. Perhaps it’s because I’ve thankfully had no direct experience of this subject matter but, after 45 minutes or so, it got very tedious to watch. The only plot here is Gough’s character’s journey but, beyond her extraordinary acting range, the script doesn’t give the audience any reason to care about her at all.
There are some darkly comic lines, usually delivered by Gough, but the group session scenes in particular were especially testing. I could never quite get what the point of this play was? What was it trying to make me think? I genuinely don’t think I could describe it as thought-provoking.
Jeremy Herrin’s direction blows so hot and cold. There are some genuinely inspired moments, in tandem with Tom Gibbons’ sound design and James Farncombe’s lighting. Bunny Christie also deserves credit for creating a dynamic and engaging set.
There are positives here but this was just too wanky, for want of a better expression for me. As others before me have said, I can see why it might appeal to broadsheet critics and the National’s regular audience. I’m not sure it will have much of an impact beyond that bubble.
(Sorry but) two stars. Eek.
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Post by parsley1 on May 22, 2024 22:08:08 GMT
Yeah, I just couldn’t get into this. It’s so frustrating because when a musical doesn’t quite land punches, there’s usually some aspect of the piece that one can cling onto as a positive. Plays, for better or worse (well, worse), are left far more exposed. And perhaps it’s a lesson for me to stop booking plays based on hype and positive reviews. At the end of the day, certain styles click with you and this certainly did not. But the first thing to say is that Denise Gough (playing Emma, Rachel, Sarah? I lost track) is an absolute powerhouse. I’d love to see her in something with a bit more verve to it. Duncan Macmillan’s play is about rehabilitation and the impact on those trying to support an addict. Perhaps it’s because I’ve thankfully had no direct experience of this subject matter but, after 45 minutes or so, it got very tedious to watch. The only plot here is Gough’s character’s journey but, beyond her extraordinary acting range, the script doesn’t give the audience any reason to care about her at all. There are some darkly comic lines, usually delivered by Gough, but the group session scenes in particular were especially testing. I could never quite get what the point of this play was? What was it trying to make me think? I genuinely don’t think I could describe it as thought-provoking. Jeremy Herrin’s direction blows so hot and cold. There are some genuinely inspired moments, in tandem with Tom Gibbons’ sound design and James Farncombe’s lighting. Bunny Christie also deserves credit for creating a dynamic and engaging set. There are positives here but this was just too wanky, for want of a better expression for me. As others before me have said, I can see why it might appeal to broadsheet critics and the National’s regular audience. I’m not sure it will have much of an impact beyond that bubble. (Sorry but) two stars. Eek. An excellent review and thoughts It was a sanitised representation of addiction NO staff in addictions units behave in this inappropriate and unboundaried and ridiculous way And the “comedy” is quite pathetic It isn’t humor it’s just vulgarity and swearing The audience laugh at the word with C It’s sad really On the other hand it’s going to be the pinnacle for the lead and her career so let her enjoy it |
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Post by lt on May 23, 2024 16:26:47 GMT
On the other hand it’s going to be the pinnacle for the lead and her career so let her enjoy it Bit of a patronising take I feel and how can any of us possibly know what an actor will go on to achieve in future productions? Personally, I think Gough is excellent, but like any performer, a large part of her future career success will dependent on the opportunities offered. |
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Post by bigredapple on May 27, 2024 11:22:11 GMT
What’s the front row like for this? TT have them on sale for 35 so I’m tempted
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Post by amyja89 on May 28, 2024 22:46:12 GMT
95% full for tonight I would say. Everything I think has already been mentioned by others above. I did start to get a little nervous during the first 30 mins that Denise Gough was going to do the whole drunk/high acting for the whole piece (it wasn’t working for me), but the performance settled down after that first night detox and she was super impressive from there on out.
The final scene with the mother broke my heart. Feels like she almost wants Sarah to relapse in order to have something to cling onto in terms of having a scapegoat/distraction from the brother’s death.
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Post by aspieandy on May 29, 2024 10:16:49 GMT
A bit random but I really dislike the name of this play. Wishy-washy, unhelpful, beige. Conveys nothing whatsoever about the themes, or the humour, or the energy.
It sounds like a BBC travel show with Judith Chalmers (who?!) or Jane Macdonald.
Doesn't do the piece justice.
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Post by producerfacts on May 29, 2024 10:52:35 GMT
A bit random but I really dislike the name of this play. Wishy-washy, unhelpful, beige. Conveys nothing whatsoever about the themes, or the humour, or the energy. It sounds like a BBC travel show with Judith Chalmers (who?!) or Jane Macdonald. Doesn't do the piece justice. Is this not spelt out in the script? People, Places and Things are what trigger addictions and in the final scene she returns to the People, Places and Things that trigger her? |
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