Bach and Sons-Bridge theatre

Interesting that they didn’t continue with SRB in John Gabriel Borkman as planned - and they chose this instead.

They have been rather sneaky, underhand perhaps, in moving my John Gabriel Borkman tickets to Bach & Sons. There is no mention of the fact that Bach top price is £69.50, less than the £72.50 I paid for Borkman, which I presume was the top band. So existing ticket-holders are expected, by default, to pay more than new customers. It may only be £3.00 each, but to sneak it through I don't like.

Having booked for this today, there wasn't much choice for cheap tickets. The £15 seats are currently being sold in pairs. You will get a few single seats for £25 in Gallery 2, otherwise, £40+ for single seats on the different dates I clicked on this morning.

I got an email from TodayTix just 20 minutes ago, so you may wish to have another look.

I've had some terrible customer service from this theatre

I've booked to go and see this - I had to ring the Box Office, as despite the fact that a solo ticket was clearly shown as being available in Gallery 1, it wouldn't let me buy it online, citing the usual 'you can't leave a solo seat' nonsense - but a very competent chap called Dan sorted it out for me over the phone. It will be my first theatre visit since March 2020!

Today Tix just emailed out to confirm £20 Rush Tickets. Unlockable in the app and alerts available for availability.

I wonder if any reviewers or even the Bridge themselves will be tempted to use Theatre is Bach as a headline?

Is it as turgid as it sounds?

I think on the whole I'd have to agree. I'm also reviewing a preview (what's the point in theatre discussion boards if you don't review the previews etc etc) but I'd give it 'Good Not Great'. It's very effectively put together, and Samuel Blenkin in particular is an absolute treat, but I just didn't feel particularly connected to the characters or engaged in the story.

Part of my problem is I'm just not sure what the point was, during the final scene I was waiting for some kind of revelation or resolution that I just didn't get. The script is funny, though not funny enough to be a comedy, smart as you'd expect from Nina Raine, but no scene has the punch or vibrancy that Consent had. There is a lot of discussion between the characters about music, and what they see as the point of it, arguing about the role of religion, and meaning in the squiggles they jot down on a manuscript. Some of those discussions were interesting, and the fake playing of instruments/use of music was convincing enough to add some degree of quasi-authenticity to a family of musicians on stage, but again I didn't feel like those discussions went anywhere, or had relevance beyond a subject for the characters to argue about. 

It didn't help that not one, but two separate extremely loud phone alarms went off for 20 seconds in the final and incredibly quiet scene. By the time I'd re-engaged with the play it was over, and maybe I lost something of an emotional journey thanks to two unfathomably inconsiderate patrons. But what can you do. I wouldn't return my ticket but I don't think I'll be recommending it to non-theatre-centric friends.

Anyone hoping that post-covid theatre would 'shake things up a bit' by employing a differing set of actors for lead roles will be disappointed. SRB - clearly used to delivering lead performances - is hauled out again to give another of his 'clipped vowels & angsty' turns as Bach. It's not so much that this play doesn't appeal ( it doesn't!), its just that you know exactly the sort of performance you're going to get. Use different actors! There are tons of good ones waiting for the call. It's the equivalent of casting Sarah Lancashire as a gritty northern detective. We've seen her do it. Time and time again.
Plus if theatre is going to prove its relevance in a post-covid society, does a play about Bach do this? It reeks of appealing to a middle-class educated elite who can dose off during the performance but drop a reference to it during a dinner party!

It's a pretty ropey play that has had some VERY generous reviews, I have to say. Lower your expectations, enjoy SRB in a surprisingly small part for him (he's offstage for long stretches), admire the delightful set (hanging keyboards) and be prepared for a lot of drivel about the power of music, almost all of which sounds totally generic and could have been spoken by anybody .....