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Post by annette on Sept 24, 2022 13:20:39 GMT
Really interested to read this review annette . I didn't book for this because a) it didn't sound great to me - perhaps wrongly, I felt it was commissioned as a reaction to other Royal Court missteps rather than because they had a great theatrical idea and b) I thought there would be a lot of ticket deals available - it's a big theatre to fill and am not sure how enticing it is going to be to a wider audience. Repeated examples of bigotry without a great story or some hope or vision, etc. are, exhausting, and don't, I think accomplish much in a theatrical setting. I wonder why it appears so under-rehearsed? You’re absolutely right about the need for a great story/hope/vision, especially if there is a genuine desire to bring in an audience other than just Jewish people. I guess a great example of how to do this is A Strange Loop which I recently saw on Broadway. I’m not a young gay black man struggling to be a writer, but that show spoke to many on so many, profound and personal levels. It also gave me plenty of food for thought about the plight of the central character, whilst being thoroughly entertaining, funny and very moving. It rightfully won a clutch of awards including a Pulitzer Prize and Tonys. It was really innovative and managed to make a lot of serious points with the lightest of touch. Although that show is very much it’s own thing and not a template for other work, I’d love to see something fresh, clever and really engaging about modern Judaism and had high hopes for the Royal Court production when I first heard about it. Basically, being talked AT for nearly two hours with a muddle of not terribly engaging ( for the most part) verbatim work and some other poor theatrical devices thrown in ad hoc is neither engaging or entertaining. It’ll be interesting to see what the critics make of it. I wouldn’t like to be in their shoes having to navigate around a production of this nature.
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Post by Steve on Sept 24, 2022 18:27:11 GMT
I suspect that the experience of this play varies depending on how much you know about antisemitism. For those Royal Court bookers who don't know much, but just book everything, this could be especially eye-opening, gutwrenching and memorable. But for those, like Annette, who know a great deal about it, and who are seeking solutions, not so much. In any event, this is very good on what antisemitism is generally, and Luciana Berger's testimony, about her experiences in the Labour Party, are heartbreaking and illuminating. Some spoilers follow. . . There are actually two framing devices here, both of which are interesting, and neither of which pay off properly:- In one, Alex Waldman plays Hershel Fink, the racist caricature in the original version of "Rare Mettle Earth," wondering how he was created, in a setpiece that reminded me of Terry Gilliam's Monty Python work. There's no end of interest and amusement in having a fictional character become self-aware, especially one as controversial as this, but Freedland just forgets about him, not knowing what to do with his own creation. In the other framing device, Freedland brilliantly starts by segmenting his twelve testimonies into topics, with the first being "Money," the second "blood-libel," etc, thus giving shape and direction to what might otherwise be twelve unwieldy meandering testimonies. But at some point, he quits, Luciana Berger takes over and devastates us with her personal take on her horror show experiences in the Labour Party (Louise Clein's Berger is pitch perfect in her sentiment and focus, backed up by Debbie Chazen's convincing and succinct Margaret Hodge), and then the show limps on, with testimonies about the backgrounds and hopes and dreams of the other characters, seemingly unshaped by Freedland's initial attempt to segment the testimonies into a controlled direction. So what starts off focused reaches a fever pitch, then drifts apart instead of building to a climax. There are controversial moments, such as the accusation that Caryl Churchill's "Seven Jewish Children" is antisemitic, which Dominic Cooke has already joined in defending against in yesterday's Guardian. For example, it is said, "why isn't it called "Seven Israeli Children?"" Why tar all Jews with the brush of caring only about their own children and not the children of Palestinians? But I recall that in that play at least two of the children are not Israeli, as they are set in the time of the Holocaust, so in fact, "Seven Israeli Children" couldn't possibly be the title of the play. On the other hand, I think the overall focus on left wing bigotry (specifically among some Corbynites) rather than right wing bigotry (Berger testifies that she expected to find bigots on the right, but not her left wing family, which is what crushed her) is warranted, as that critique might be harder for a typical Royal Court audience to listen to, which might stimulate thinking, which is one purpose of good art. For me, one of the most effective testimonies was that of the taxi driver, not at all well off, but stereotyped by tropes as controlling the world. Steve Furst is an amazing actor, and immensely likeable, and his ability to render the taxi driver and his other character, Howard Jacobson, in distinctive, convincing accents means that you always know which character is speaking through him. This is an interesting, controversial and messy evening, and has a lot worthwhile to say. Part of the reaction to it will inevitability be political whataboutism (as in, yeah, there are racist left-wingers, but there are more racist right wingers), but whataboutism doesn't erase or cure the horrific damage described in this play, and if one member of the audience checks themself after hearing these testimonies, then surely the play is worth it. 3 and a half stars from me.
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103 posts
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Post by annette on Sept 24, 2022 19:57:42 GMT
Very interesting to hear your thoughts Steve.
I totally agree with you about Steve Furst (I actually felt quite sorry for him being stuck in what my opinion was such a wasted opportunity. I do agree with some of the other observations you've made about the structure of the piece (or lack of it).
The thing is for me, after being presented with the laundry list of crimes against the Jewish people, it offered up nothing else at all. Where was the celebration of Judaism (in whatever form)? Or what it means to be Jewish in 2022, aside from the problems of anti-Semitism? Or why many of us (me included) are completely irreligious in a mixed marriage, but still have a great love of Jewish culture and some traditions? There was absolutely no light and shade in the show at all, for me.
Also the clipping on of the big, gold noses to denote the Jewish fiend in the dumb show gave a whole new meaning to the word 'on the nose'.
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Post by Mark on Mar 20, 2023 13:05:59 GMT
Another new batch of plays announced!
NO I.D. by Tatenda Shamiso Hope has a Happy Meal by Tom Fowler Cuckoo by Michael Wynne Word-Play by Rabiah Hussain Dana H. by Lucas Hnath
Very glad we will get Dana H. with Deidre O’Connell reprising her Tony Award winning performance!
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Post by zahidf on Mar 20, 2023 13:14:41 GMT
Glad they were right about Word-Play being back.
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Post by Deleted on Mar 20, 2023 13:23:41 GMT
Dana H. is excellent.
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Post by youngoffender on Mar 20, 2023 14:52:30 GMT
Dana H. sounds great - looking forward to it.
The synopsis for No I.D. is borderline satirical in its Royal Courtness.
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Post by londonpostie on Mar 20, 2023 15:20:18 GMT
Another new batch of plays announced! NO I.D. by Tatenda Shamiso Hope has a Happy Meal by Tom Fowler Cuckoo by Michael Wynne Word-Play by Rabiah Hussain Dana H. by Lucas Hnath Very glad we will get Dana H. with Deidre O’Connell reprising her Tony Award winning performance!
Upstairs, Downstairs - 3 up, 2 down. Great to see the spaces maxed.
I see Vicky Featherstone is directing Michael Wynne's Cuckoo. RC usually picks up interesting work from the US so, yeah, Dana H, also.
Will have a think about the upstairs jobbies
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Post by alessia on Mar 22, 2023 7:00:55 GMT
Nothing in this list interests me that much but as usual I'll probably book a cheap seat for most things (and then regret it when the reviews come out lol)
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Post by bobbievanhusen on Mar 22, 2023 11:56:33 GMT
I really like Michael Wynne's writing, so i'll definitely be booking for Cuckoo.
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Post by Dave B on Apr 6, 2023 8:09:39 GMT
New show, fast on sale (now for members, 2pm for general)
all of it, a trilogy of plays by Alistair McDowall, will play in the Jerwood Theatre Downstairs from 6 – 17 June, before heading to @festivalavignon.
Co-directed by Vicky Featherstone and Sam Pritchard.
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Post by drmaplewood on Apr 6, 2023 8:32:03 GMT
All of it was one of the last things I saw before we went into lockdown in 2020, it was excellent.
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Post by alessia on Apr 6, 2023 9:40:53 GMT
I had a ticket for All of IT, and it got cancelled (I think!) - booked!
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1,464 posts
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Post by Dave B on Jun 26, 2023 10:33:56 GMT
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Post by Rory on Jun 26, 2023 11:15:38 GMT
The 'new visionary' can't come soon enough, although good pricing initiatives.
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Post by foxa on Jun 26, 2023 11:16:56 GMT
Looks like a tough season to sell,so discounts upfront not a bad idea.I've had a couple of rough evenings at Mullarkey's plays (Pity and George and the Dragon),though you can't fault his ambition.
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Post by alessia on Jun 26, 2023 12:59:23 GMT
My first reaction to this announcement was ‘yawn’
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Post by londonpostie on Jun 26, 2023 13:13:31 GMT
'Visionary' feels a little understated, can we not have a messiah.
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Post by MrBunbury on Jun 26, 2023 14:11:46 GMT
I am interested in all three plays they just announced. And it seems that there will be less competition to get a ticket from the reactions above :-)
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Post by cavocado on Jun 26, 2023 17:46:23 GMT
I am interested in all three plays they just announced. And it seems that there will be less competition to get a ticket from the reactions above :-) Can't remember the last time there was competition to get tickets for the Royal Court, which is a shame. I might see one or two of these, but will wait for reviews. Good to see the price changes. Looking forward to seeing who takes over from Vicky Featherstone and any changes in direction.
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Post by zahidf on Nov 7, 2023 7:50:17 GMT
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Post by couldileaveyou on Nov 7, 2023 13:07:14 GMT
Very disappointed I was really looking forward to this
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Post by Rory on Nov 7, 2023 13:10:21 GMT
The one show recently at the Court which people might actually have wanted to see.
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Post by caa on Nov 7, 2023 22:22:05 GMT
I have booked to see it but not been contacted.
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Post by imstillhere on Nov 8, 2023 23:45:45 GMT
Cmon! I don’t believe for one second it’s been canceled because of the SAG strike! American Theatre actors are members of the Actors' Equity Association which has nothing to do with The Screen Actors Guild. It’s a completely different union.
This is simply David Byrne wanting to be free from the programming of Vicky Featherstone. For years The Royal Court has been shuffling the deck chairs around as the ship sinks. The new Artistic Director doesn’t want to inherit the old Artistic Director’s programming.
It’s a shame to lose this transfer (I saw it on Broadway and it was sublime!) But I’m sure another theatre will snap it up. The Almeida perhaps?
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