81 posts
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Post by addictedtotheatre on May 25, 2016 9:38:36 GMT
I know its only had its first preview but has anyone seen this? Is it worth booking?
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Post by vickster51 on May 25, 2016 9:43:45 GMT
I know its only had its first preview but has anyone seen this? Is it worth booking? I'm going on Saturday and will let you know what I think. I'm particularly looking forward to seeing Pippa Nixon on stage again. |
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Post by Deleted on May 28, 2016 19:54:40 GMT
Sometimes a new play is so awful
On every level
The writing, the concept, the direction, the acting and the whole premise
That is makes you realise what an inbred little industry the British theatre scene is
This play would never have made it to even off broadway
Similarily there is a reason why The End of Longing was premiered in the WE
Because it was sh*t and they knew we would take it
In contrast new writing is a competitive market in the US and people are willing to invest heavily resulting in higher quality end products
I would avoid this new play at all costs
The playwright had his head stuck so far up his arse when he wrote it
That after cleaning the sh*t from his eyes
And looking in the mirror
He decided to concentrate on his own reflection as the source material
I found the portrayal of the naive Greeks as being mentally inferior to the white "protagonists" very offensive
The Ben Miles character is the biggest Tw*t ever created but to the extent that his lines are so awful and cheesy that I found it simply unbearable to watch
The direction and staging mean that it is not even clear which decade we are in (unless you knew what the play was about beforehand) until you read the programme
Rufus Norris needs to control what is going on at this venue more closely
Their new comissions are terrible lately
Only the revived works are being acclaimed
Looks like critics got their own back as Threepenny Opera has been coolly received with plenty of 2 and 3 stars
There was not a single thing that appealed to me in this play
The elderly white audience in their man made fibre based short sleeve summer attire tittering at entirely unfunny patronising lines pissed me off even more
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Post by Deleted on May 28, 2016 21:31:43 GMT
I will never know whether your critique of this show is accurate or not, parsley, as I'm not the least bit inclined to spend an afternoon or evening watching it. What I do know is that I find your posts more and more (worryingly?) entertaining! (I'm still getting over the image of Madonna wiping her arse with a London pantomime.  ) |
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5,688 posts
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Post by lynette on May 28, 2016 22:05:37 GMT
Sometimes a new play is so awful On every level The writing, the concept, the direction, the acting and the whole premise That is makes you realise what an inbred little industry the British theatre scene is This play would never have made it to even off broadway Similarily there is a reason why The End of Longing was premiered in the WE Because it was sh*t and they knew we would take it In contrast new writing is a competitive market in the US and people are willing to invest heavily resulting in higher quality end products I would avoid this new play at all costs The playwright had his head stuck so far up his arse when he wrote it That after cleaning the sh*t from his eyes And looking in the mirror He decided to concentrate on his own reflection as the source material I found the portrayal of the naive Greeks as being mentally inferior to the white "protagonists" very offensive The Ben Miles character is the biggest Tw*t ever created but to the extent that his lines are so awful and cheesy that I found it simply unbearable to watch The direction and staging mean that it is not even clear which decade we are in (unless you knew what the play was about beforehand) until you read the programme Rufus Norris needs to control what is going on at this venue more closely Their new comissions are terrible lately Only the revived works are being acclaimed Looks like critics got their own back as Threepenny Opera has been coolly received with plenty of 2 and 3 stars There was not a single thing that appealed to me in this play The elderly white audience in their man made fibre based short sleeve summer attire tittering at entirely unfunny patronising lines pissed me off even more Well this is obviously the one for the family outing. What would we do without you, Parsely? |
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Post by Deleted on May 28, 2016 22:17:12 GMT
I will never know whether your critique of this show is accurate or not, parsley, as I'm not the least bit inclined to spend an afternoon or evening watching it. What I do know is that I find your posts more and more (worryingly?) entertaining! (I'm still getting over the image of Madonna wiping her arse with a London pantomime. ) So upset After a good week Cuttin It and The Forbidden Zone I KNEW should have stayed in for BGT and not subject myself to this distress Anyway Next week is Aladdin week Thursday through Saturday |
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3,557 posts
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Post by showgirl on May 28, 2016 22:18:01 GMT
Well, I am still going to see this next week and am looking forward even more to seeing for myself this evidently execrable and worthless piece - not that I, with my undiscriminating eye, would have recognised it as such, but I am now forewarned and forearmed.
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1,064 posts
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Post by bellboard27 on May 28, 2016 22:26:29 GMT
I've got 2 weeks till I catch it, which will be just after press night, so the reviews will be entertaining!
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Post by Deleted on May 28, 2016 22:31:01 GMT
Well, I am still going to see this next week and am looking forward even more to seeing for myself this evidently execrable and worthless piece - not that I, with my undiscriminating eye, would have recognised it as such, but I am now forewarned and forearmed. Please don't forget I liked loved even 2 of the 3 things I saw this week |
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Post by Deleted on May 28, 2016 22:37:40 GMT
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Post by Deleted on May 28, 2016 23:04:11 GMT
I read this article prior to seeing the (first half) of the play His style of writing even in the Guardian article is so distancing and boring They say you should write a play about a subject you know about That entirely failed to come across on stage Go and see for yourself Please Be my guest |
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92 posts
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Post by chameleon on May 28, 2016 23:06:29 GMT
It can't be worse than 'The Faith Machine', surely? But, yes, inbred, you're right. It's sad when the best career move a playwright can make is to start a romantic relationship with the director of a new writing company... (See also, Stella Feehily..) Sometimes a new play is so awful On every level The writing, the concept, the direction, the acting and the whole premise That is makes you realise what an inbred little industry the British theatre scene is This play would never have made it to even off broadway Similarily there is a reason why The End of Longing was premiered in the WE Because it was sh*t and they knew we would take it In contrast new writing is a competitive market in the US and people are willing to invest heavily resulting in higher quality end products I would avoid this new play at all costs The playwright had his head stuck so far up his arse when he wrote it That after cleaning the sh*t from his eyes And looking in the mirror He decided to concentrate on his own reflection as the source material I found the portrayal of the naive Greeks as being mentally inferior to the white "protagonists" very offensive The Ben Miles character is the biggest Tw*t ever created but to the extent that his lines are so awful and cheesy that I found it simply unbearable to watch The direction and staging mean that it is not even clear which decade we are in (unless you knew what the play was about beforehand) until you read the programme Rufus Norris needs to control what is going on at this venue more closely Their new comissions are terrible lately Only the revived works are being acclaimed Looks like critics got their own back as Threepenny Opera has been coolly received with plenty of 2 and 3 stars There was not a single thing that appealed to me in this play The elderly white audience in their man made fibre based short sleeve summer attire tittering at entirely unfunny patronising lines pissed me off even more |
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Post by Deleted on May 28, 2016 23:34:58 GMT
It can't be worse than 'The Faith Machine', surely? But, yes, inbred, you're right. It's sad when the best career move a playwright can make is to start a romantic relationship with the director of a new writing company... (See also, Stella Feehily..) Sometimes a new play is so awful On every level The writing, the concept, the direction, the acting and the whole premise That is makes you realise what an inbred little industry the British theatre scene is This play would never have made it to even off broadway Similarily there is a reason why The End of Longing was premiered in the WE Because it was sh*t and they knew we would take it In contrast new writing is a competitive market in the US and people are willing to invest heavily resulting in higher quality end products I would avoid this new play at all costs The playwright had his head stuck so far up his arse when he wrote it That after cleaning the sh*t from his eyes And looking in the mirror He decided to concentrate on his own reflection as the source material I found the portrayal of the naive Greeks as being mentally inferior to the white "protagonists" very offensive The Ben Miles character is the biggest Tw*t ever created but to the extent that his lines are so awful and cheesy that I found it simply unbearable to watch The direction and staging mean that it is not even clear which decade we are in (unless you knew what the play was about beforehand) until you read the programme Rufus Norris needs to control what is going on at this venue more closely Their new comissions are terrible lately Only the revived works are being acclaimed Looks like critics got their own back as Threepenny Opera has been coolly received with plenty of 2 and 3 stars There was not a single thing that appealed to me in this play The elderly white audience in their man made fibre based short sleeve summer attire tittering at entirely unfunny patronising lines pissed me off even more In fact I liked Bracken Moor which he did at Tricycle it was atmospheric if not a little melodramatic I did not like Faith Machine or The Pride As they felt like being slapped about the face with a middle class playwright view of gay rights This adage of knowing the subject you are writing about can be a fine line Often the material exposes the issues and insecurities of its author and just seems like a manifesto or blatant agenda |
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433 posts
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Post by DuchessConstance on May 29, 2016 0:05:05 GMT
Some playwright should create a verbatim play based on Parsley's posts. London Road-style.
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4,970 posts
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Post by Phantom of London on May 29, 2016 1:18:35 GMT
Hang on a bit Parsley you are down on the National and Rufus Norris, only last month you were extolling they have the best plays in London Ma Raineys Black Bottoms and Les Blancs and throw into the mix which you loved The Flick, it's the same National Theatre as always - inconsistent, even this happened under Lord Hytner watch.
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Post by Deleted on May 29, 2016 8:45:11 GMT
Not even inconsistent, necessarily, but reflective of the fact that different people like different things.
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1,064 posts
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Post by bellboard27 on May 29, 2016 8:51:43 GMT
Noticed that there was already a thread on this play - could admin team merge the threads?
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1,476 posts
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Post by Steve on May 29, 2016 9:33:08 GMT
Noticed that there was already a thread on this play - could admin team merge the threads? But it took Parsley to start a thread that engaged everybody: that is the genius of Parsley lol! Lacking the "forewarning" to guide me into disliking this "evidently execrable and worthless piece," I saw it last night and liked it. Parsley's bang on when he says this of Alexei Kaye Campbell: "looking in the mirror He decided to concentrate on his own reflection as the source material," but for me that's the piece's major strength, that he looked in the mirror, didn't like what he saw, and wrote about it, in a way that indicts just about all of us. I would agree that it would be "offensive" to portray "naive Greeks as being mentally inferior to the white "protagonists," but, putting aside the fact that many Greeks consider themselves "white," I suggest that the person who patronises the young Greek girl, Maria, in the scene Parsley is referring to, Ben Miles' Harvey, actually patronises everybody in the play. The play is about the fact that he is patronising. He also succeeds in bamboozling everybody in the play, with his extreme erudition, because in many respects he is "mentally superior" to them. The play asks whether he is also bamboozling himself. So while "the Ben Miles character" may indeed be "the biggest Tw*t ever created," the play may be about just how big "a Tw*t" he is. If Parsley had stayed for the second half, he may have found out. |
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Post by Deleted on May 29, 2016 10:00:21 GMT
So while "the Ben Miles character" may indeed be "the biggest Tw*t ever created," the play may be about just how big "a Tw*t" he is. If Parsley had stayed for the second half, he may have found out. Perhaps the biggest Tw*t was the one who assumed he was mentally superior to the playwright and then left at the interval. |
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Post by Deleted on May 29, 2016 10:51:13 GMT
So while "the Ben Miles character" may indeed be "the biggest Tw*t ever created," the play may be about just how big "a Tw*t" he is. If Parsley had stayed for the second half, he may have found out. Perhaps the biggest Tw*t was the one who assumed he was mentally superior to the playwright and then left at the interval. Unless Beyonce showed up on stage during the second half And Chanel gave out free bags I doubt I missed much |
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Post by Deleted on May 29, 2016 11:02:03 GMT
Noticed that there was already a thread on this play - could admin team merge the threads? But it took Parsley to start a thread that engaged everybody: that is the genius of Parsley lol! Lacking the "forewarning" to guide me into disliking this "evidently execrable and worthless piece," I saw it last night and liked it. Parsley's bang on when he says this of Alexei Kaye Campbell: "looking in the mirror He decided to concentrate on his own reflection as the source material," but for me that's the piece's major strength, that he looked in the mirror, didn't like what he saw, and wrote about it, in a way that indicts just about all of us. I would agree that it would be "offensive" to portray "naive Greeks as being mentally inferior to the white "protagonists," but, putting aside the fact that many Greeks consider themselves "white," I suggest that the person who patronises the young Greek girl, Maria, in the scene Parsley is referring to, Ben Miles' Harvey, actually patronises everybody in the play. The play is about the fact that he is patronising. He also succeeds in bamboozling everybody in the play, with his extreme erudition, because in many respects he is "mentally superior" to them. The play asks whether he is also bamboozling himself. So while "the Ben Miles character" may indeed be "the biggest Tw*t ever created," the play may be about just how big "a Tw*t" he is. If Parsley had stayed for the second half, he may have found out. With all due respect It was clear where the play was going My issue was with how badly it was written And how shocking the acting was Not a single one convinced me Trying to explore political upheaval through pantomime characters doesn't work From the audience demographic last night it will serve its purpose well Thank god it's not on for that long As I alluded to If the playwright was not partner to a high profile director this play would not be on at the NT It's certainly not there because it's an amazing play And my reference to the NT was with respect to new writing Ma Rainey and Les Blancs were revivals And The Flick was poached from elsewhere Nothing wrong with this But as THE biggest publicly funded venue in the UK Their recent track record of new writing is abysmal RC every time for new writing |
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Post by Deleted on May 29, 2016 11:16:20 GMT
RC every time for new writing I did not like Faith Machine or The Pride |
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1,502 posts
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Post by foxa on May 29, 2016 11:37:40 GMT
So while "the Ben Miles character" may indeed be "the biggest Tw*t ever created," the play may be about just how big "a Tw*t" he is. If Parsley had stayed for the second half, he may have found out. Perhaps the biggest Tw*t was the one who assumed he was mentally superior to the playwright and then left at the interval. Whoa. HG - too far. |
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Post by Deleted on May 29, 2016 11:43:46 GMT
I merely suggested the possibility: "Perhaps". |
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Post by Deleted on May 29, 2016 12:06:18 GMT
So while "the Ben Miles character" may indeed be "the biggest Tw*t ever created," the play may be about just how big "a Tw*t" he is. If Parsley had stayed for the second half, he may have found out. Perhaps the biggest Tw*t was the one who assumed he was mentally superior to the playwright and then left at the interval. I have seen the playwright on several occasions Certainly I am superior to the eye |
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