Emilia (Globe and Vaudeville Theatre)

I had a mixed reaction to this - I wanted to like it more. Great to see a talented cast of actresses given a real range of things to do, from courtly dancing to silly clowning.  All three Emilias are good - v. talented.  I think Morgan Lloyd Malcolm writes some sections very well.  The set is clever.   Like others have said it was long, but when I tried to think about what could be cut, it was often stuff that I liked but didn't necessarily move the plot forward so - you would lose something good at the expense of rushing through her life. There were things that annoyed me:



I think it's worth seeing and these are the types of new plays it's great to see the Globe commissioning -  but I have some reservations about how enjoyable a night out it would be for some.

Fascinating mix of reviews for this in the press, from five stars to two stars so far. The theatrical style which appears to have some in ecstasy or be rubbing them up the wrong way.

If there was an award for reviews I would give it to this one. She makes excellent points that need further discussion. Very balanced. KWomen are so under represented in Theatre that of course they feel the need to write about being women because they are almost creating their culture again from scratch. Her discussion about the sorts of subjects women write about is really interesting. I really hated Home, I’m Darling because I felt that as a subject for a play it felt demeaning. Men do housework but most don’t write plays about it - yes, I know the play isn’t about housework but it sickened me to see a woman on stage clearing up after a man, taking the top off his egg etc. There may be women like that but I have zero interest. That the NT chose to programme that rather than a play by a woman about, say, climate change (I know, but I can’t think of another subject right now). Or maybe programme both so that women like me who have no interest in a “quirky” play about a woman with strange proclivities has something meatier to engage her intellect. i would like to see Emilia - if I can get a ticket!

Thanks foxa for posting that review. It does sum up the difficulties here v well
I left at the interval. So I missed a few ‘good’ bits. But after an hour and a half ( come on Writer person, this is the second most uncomfortable theatre in London ) I think I got the message.
For me too many targets and most missed. The language target, the mix of old and new didn’t work because the audience roared with laughter at the contemporary expressions as if they were the only bits they,we, understood. The poetry was lost. So old serious new funny? Then immigration. Hammered in. I mean hammered with I think a mistake about Elizabethan/Jacobean attitudes. But let’s not quibble when we are preaching eh? Then of course equality of the sexes ( or is that gender ?) Frankly I think it was done better in the film, Shakespeare in Love. Because it was visual. Writing is very hard to dramatise.
All done with gusto and you can’t fault the acting. You rarely can because we are blessed with such a fine acting tradition and practitioners. But I’m sorry Steve and you can dismiss this as I didn’t stay til the end, but for me not good.
In the programme there is a comment about this play being especially written for this theatre. May I humbly, very humbly remind the Globe that there are other plays written especially for this theatre. I think they should focus on producing them.

I wonder if we are getting too obsessed with the idea of WE transfers as a sign of success. If it sells well why not just consider bringing it back - as you suggest - or extending the run. I noticed that this show hasn’t sold out - most successful shows at least sell out in their final week, certainly in their final days. The last time I looked this still had availability - given that it had quite a short run that probably indicates that a WE transfer would not be commercially viable.

Yes the loos, no longer good enough. And the foyer area also limited as you can’t go into the 'yard' until half an hour before the show starts. Missed opportunity I think

Transferring into the West End in the new year.

Wonder which theatre?

Whichever Theatre, you'll need ear plugs if they shout as much as they did at the Globe. Presumably they will adapt for indoors.

She will be busy on the Southbank...

Slightly off-topic but I do so agree re the new writing at the Globe (as that's the category which interests me) tending to be off-puttingly long & seats uncomfortable - & expensive for anything but restricted view.

I know the point of the venue is to replicate a past era & not to provide modern comforts or meet any accessibility/affordability needs, but there must be a cost in terms of lost business.