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Post by david on May 16, 2023 20:50:36 GMT
Having been at Sunday's matinee as my last show of my London theatre holiday, I wanted to chew over this one before posting my thoughts as there was so much to go over about this show. Firstly, getting one of the on stage seats was a great experience and a fantastic opportunity to view a show from a different perspective rather than being sat in the normal stalls / circle areas and at a much cheaper price. It was well organised by the FOH team. Thankfully due to the onstage lighting design it meant that I didn't really see much of the audience on the other side except a couple of the rows at the front of the stalls so it wasn't too much of a distraction.
There is no doubt that James Norton and Luke Thompson should be up for a a couple of gongs at the next awards season for their roles here. They are a pair of superb performances and to be able to do what they do each night with that intensity should be rewarded. Now I hadn't read the book prior to watching this so I cannot really comment on how good an adaption it was but the main emotion I felt watching this was one of numbness rather than anguish and tears. I was looking around at the people sat near me and at the people in the stalls and they were in tears at the end of Act 1 and at the end of the show. Yes, it's relentless harrowing stuff on stage to watch but the only reason I can think of why I didn't feel anything else is down to the creative decisions of IVH and his way of storytelling on stage of which I wasn't a massive fan of.
For me if you are going to tell a story like this on stage, it didn't help by not having the early parts of Act 1 exploring the friendship between the friends as a whole in more detail, especially Jude and Willem's relationship. If IVH had taken the time show those bits in more detail at the start, I probably would of bought more into the relationships later on during the more emotionally charged stuff. Also, in any story, there needs to be a delicate balance between the serious and more lighter parts. With this production, I don't think the balance was quite right. Yes, there were moments that allowed the audience to take a break from the violence, but for me I don't think there were enough. Maybe to get a better balance could of been achieved by splitting the story over 2 parts as was effectively done with "The Inheritance". I got more out of that play as being spread over 2 parts allowed you to get to know and really care about the characters and their individual story arcs. So when the emotional bits came, they really hit me hard and the tears flowed over the two parts. With respect to A Little Life, the only relationship that I really bought onto was Jude and Harold which came across really well and the most natural.
Overall, an interesting experience watching this, but i think the creative decisions in the storytelling really impacted on me in being able to get into the characters and their story arcs.
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227 posts
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Post by galinda on May 18, 2023 9:08:23 GMT
Sorry if I’m asking something already covered in this thread but can someone tell me if there is just one interval in this and what the running time of each half is?
I have a spare ticket for this as my friend can no longer attend, think I may struggle finding someone to come with me due to the running time and content of the play so may put the ticket on the notice board here eventually!
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Post by mrnutz on May 18, 2023 9:17:59 GMT
Sorry if I’m asking something already covered in this thread but can someone tell me if there is just one interval in this and what the running time of each half is? I have a spare ticket for this as my friend can no longer attend, think I may struggle finding someone to come with me due to the running time and content of the play so may put the ticket on the notice board here eventually! From memory it is something like 1h50m, then a 20 min interval, then a slightly shorter second half at more like 1h40m. I was really worried about the length before I went but honestly didn't feel it. |
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227 posts
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Post by galinda on May 18, 2023 9:20:05 GMT
Thanks so much.
It’s quite a hard sell to the average non theatregoing person though! I’ll be fine it’s who I take that is the problem!!
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307 posts
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Post by jm25 on May 18, 2023 10:39:51 GMT
Thanks so much. It’s quite a hard sell to the average non theatregoing person though! I’ll be fine it’s who I take that is the problem!! If you struggle to shift it, it’s worth contacting ATG (assuming you bought from them). Although they’re notorious for their no refund policy, I was able to wrangle a gift voucher out of them when I returned my extra ticket. Like drawing blood from a stone! |
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Post by clarefh on May 18, 2023 12:58:41 GMT
They sell really quickly on Twickets atm ( as long as you are ok with just face value plus booking fee).
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227 posts
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Post by galinda on May 18, 2023 18:07:28 GMT
Thanks so much. It’s quite a hard sell to the average non theatregoing person though! I’ll be fine it’s who I take that is the problem!! If you struggle to shift it, it’s worth contacting ATG (assuming you bought from them). Although they’re notorious for their no refund policy, I was able to wrangle a gift voucher out of them when I returned my extra ticket. Like drawing blood from a stone! Actually got them from todaytix so not looked into their returns policy but I’m guessing they don’t let you! |
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307 posts
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Post by jm25 on May 18, 2023 18:47:01 GMT
If you struggle to shift it, it’s worth contacting ATG (assuming you bought from them). Although they’re notorious for their no refund policy, I was able to wrangle a gift voucher out of them when I returned my extra ticket. Like drawing blood from a stone! Actually got them from todaytix so not looked into their returns policy but I’m guessing they don’t let you! Given the popularity of the show they may be flexible but the best I’ve ever had from them is a temporary voucher for the same show. Worth asking, though! If not, it’s such a hot ticket I’m sure you’ll be able to find a buyer somewhere. Good luck! |
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Post by intoanewlife on May 18, 2023 18:54:47 GMT
ATG were great with me last week with unsuitable Moulin Rouge tickets.
They let me change to other seats etc without a problem.
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Post by theatregoer22 on May 21, 2023 1:32:18 GMT
Not long got back in after watching this evenings performance.
Seat N7 in the stalls offered excellent value for money (£40, compared to the three figures I imagine most people sat around me paid). Although I had a pillar in my sightline, I could see 2/3's of the stage very clearly when sat back in the chair, and it was easy enough to lean either way when the actors moved behind the pillar.
In terms of the play, I agree with others that it could have done with some lighter moments to balance the darker parts. I've read the book and while I thought the first 500 or so pages were too detailed, I feel the play went too far the other way and stripped out some lighter moments that were crucial to the story. This was especially true in Act 1, where the development of the most important relationships (Jude, Willem, Malcom and JB's and Jude and Harold's) seemed lacking. The result was that like others, in the first half I found myself a bit numb to it all rather than shocked or horrified.
Near the end of first act there was a stoppage of about ten minutes due to a medical emergency in the audience. Full credit to the way the theatre handled it and I hope the individual concerned makes a speedy recovery.
When we got the interval quite a few people did leave, although no-one close enough for me to grab their seat.
Act 2 I thought was stronger, in part due to one moment which did hit me quite hard. Although it wasn't enough to leave me blubbing.
A couple of other critical points from me include the set, which I found a bit too minimal and the screens, which I found distracting. I also wasn't sure about having Anna on stage for the whole play (due to her name sounding more like 'Unna' in the American accents the actors were putting on, I didn't even realise who she was straight away as I'd thought the actress was playing Harold's wife).
On a more positive note the performances were very good - I'm sure James Norton will be nominated for an Oliver Award next year (and possibly even win) and someone left a programme under their seat, so I scooped it up and got a few signatures at stage door afterwards (although not James Norton as I had to go and catch my train home). A particular shout out to Zach Wyatt there for noticing me quietly holding up the programme and reaching out for it, despite several people standing in front of me.
So overall I think a rating of 3.5* is probably about right. I'm not at all sad I went, especially with the clutch of signatures I now have. And the play was never boring. It just didn't go into quite enough depth to really hit hard throughout.
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245 posts
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Post by barelyathletic on May 26, 2023 10:30:33 GMT
So, I finally saw this last night. Being on the front row of the stage was quite the experience and took it to a whole different level for me. The intimacy of some of the acting, Luke Thompson memorising and mouthing Willem's scripts inches away, and the smell of cooking, disinfectants and cigarettes, was extraordinary in a theatre. I've never been so close to an actor on stage. But, God! it's relentless in the abuse heaped on Jude. Full credit to James Norton for the demands put upon him as an actor (and hard to believe he'd done a matinee!) but I'm not convinced it's worth it.
There are at least four emotional life stories in one here and, despite some positives, I found the play just too long and too much of a misery fest to really engage with it. Not a tear was shed for the martyrdom of our hero as he's reduced merely to an object for punishment after punishment to be heaped upon.
With stronger writing and more believable characterisation this might have worked for me. But there are no levels to Jude's character, or the few endlessly supportive friendships he has around him. We're told how marvelous he is but never see it in action or deed. Apart from a few moments of joy and tenderness in a four hour slog the focus is singularly on suffering. For me, it simply doesn't ring true.
I certainly don't believe in this man who is so terribly abused, yet is able to hold down a high-flying job (we never see him lift a finger to earn a living) and build a multi-million-dollar property with acres of prime land and with a lake to wander round. And we're never shown anything about him that warrants the effort others put into the relationships. Only the saintly Willem and the slightly strange Harold (creepily but well played by Zubin Varla) get close to the torment (Andy and Ana are professionals doing a job, here reduced to mere mouthpieces exclaiming about how terrible poor Jude's life is).
At nearly four hours (we got out shortly before eleven), a starry director, a layer of 'controversy' and a set of A grade actors clearly giving it their all (notably Elliot Cowan in managing multiple monstrous roles without teetering into pantomime villain), this has the feel of event theatre and I am happy enough to have seen it and to see what all the excitement was about. I wasn't bored but, sadly, to me it just seemed too shallow and sensational in the end to warrant the fuss. Three stars.
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Post by tartantraveller on May 26, 2023 15:38:10 GMT
I saw this show back at the start of April and as a fan of the books, it's done a reasonable job of converting such extensive material to a stage show. I was sat in the cheap seats towards the back so there were elements I missed throughout the show. I do think James Norton, Luke Thompson, Elliot Cowan and Zubin Varla were the stand outs for me. I was especially suprised by James and Luke as upon hearing their casting I initially thought it was a bit stunt casting due to their TV popularity. I was pleasantly suprised to find they both have a back catalogue of theatre work (Luke's especially is impressive for the years he's been working) they both are clearly exceptional on stage and in these roles are perfectly cast.
Elliot too for creating such contrast between his 3 characters is worthy of recognition. And Zubin is always fantastic in everything he does.
I've since managed to secure an onstage seat for the Savoy run (row E because while I want to be close, I don't want to be too close) I'm hoping from there I can see some of the staging and how exactly its put together (the geek in me is curious)
I also managed to snap up a solo ticket in the stalls for the final performance as I've always wanted to attend a closing night, mainly due to friends telling me they really are special performances and actors give it their all one last time (quite often as they have friends and family in attendance making it special for them).
One thing I've not seen many folk mention is doing stage door. As a rule I don't usually do it as:
1: I don't want to bother the performers when I see them as now 'off duty'
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2: I'm always worried about having a bad experience or interaction that then ruins my enjoyment of what I've just seen (possibly because of reason 1, I'm bothering them or just generally they could be tired or having a bad day, they are human after all)
However at the theatre I saw the barriers were out, security were giving clear instructions of what was OK and not ok so I gave it a go and waited to see if I could get my programme signed. I got 7 out of the 8 cast (sadly Elliot had to rush off) and every single one was utterly lovely. They paused and took a moment to speak to you. Everyone seemed so happy and cheerful in spite of having just finished a 2 show day.
Despite the dark themes of the show, this cast are clearly having the time of their lives doing this show and love to hear the audience enjoyed it. I'm hoping the Savoy might also allow for a stage door set up but glad I did at least get that experience at the Harold Pinter theatre. Safe to say I am now a fan of all of the actors in this cast after such a positive experience. Not a statement I expected to make about going to see this play, knowing the material it is based on.
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Post by asps2017 on May 27, 2023 17:15:09 GMT
Any chance of this going to Broadway?
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267 posts
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Post by gmoneyoutlaw on May 27, 2023 17:53:58 GMT
Any chance of this going to Broadway? This was the worst show I saw in London last week. I saw 11. I wanted to cheer but felt they all should have just hung themselves in the end. There is something wrong in the minds of it’s producers. It will never play Broadway. |
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Post by Deleted on May 27, 2023 22:16:53 GMT
Hyperbole much?
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5,139 posts
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Post by Being Alive on May 28, 2023 13:07:08 GMT
It's completely sold out both runs.
It's got a high profile cast and creative team.
It's based on a well known book.
I would say Broadway is inevitable.
The mixed reviews haven't stopped this being a box office smash in London and I dare say wouldn't in New York either
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7,054 posts
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Post by Jon on May 28, 2023 13:59:51 GMT
It's completely sold out both runs. It's got a high profile cast and creative team. It's based on a well known book. I would say Broadway is inevitable. The mixed reviews haven't stopped this being a box office smash in London and I dare say wouldn't in New York either Broadway will happen but I'd let the cast have a nice long holiday before they start up again. |
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Post by og on May 28, 2023 20:16:21 GMT
Much inline with half of the responses to the book too. This is really a divider of opinion, both on paper and on stage. |
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Post by teamyali on May 29, 2023 2:47:42 GMT
Someone mentioned (either here or at Reddit) that the original Dutch version (with English subtitles) of A Little Life played in New York a few years ago and it was a hard sell. Now that it is a success at the West End with a British cast, and Broadway could be possible, would they be able to bring all the 8 principal actors? I’m curious because there are rules about Broadway equity and stuff like that.
How popular is James Norton in the US? He was part of the Little Women film years back, but he’s more famous because of Happy Valley. I envision him playing the film critic in the final Tarantino film, though. (Apparently QT is looking for his lead actor who is in his mid-30’s and hasn’t been in previous Tarantino films. That rules out Austin Butler anyway)
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Post by tartantraveller on May 30, 2023 13:31:55 GMT
Someone mentioned (either here or at Reddit) that the original Dutch version (with English subtitles) of A Little Life played in New York a few years ago and it was a hard sell. Now that it is a success at the West End with a British cast, and Broadway could be possible, would they be able to bring all the 8 principal actors? I suspect not all 8 would go across. Its possible the reason they are only going till the 5th August could be actor avilablity along side theatre avilability. We know Luke Thompson will be contracted to Bridgerton at some point and likely lead S4 of that so would not be suprised if that makes him unavailable. Wouldn't suprise me if James Norton already had something else lined up if not going with the play to America. He is very popular at the moment. I would also say they will likely want to cast American actors rather than British actors putting on an American accent. I'd say max 1, maybe 2 cast members might go over but not the whole lot and possibly only James Norton due to the praise he's gotten for this role. Luke Thompson might also have gone but I suspect Bridgerton might prevent that as Americans love that show which would make him a big draw too. |
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Post by mattnyc on May 30, 2023 15:40:18 GMT
We do love “Bridgerton” over here but I’m not sure how much of selling point Luke Thompson would be, based on that. I thought he was extraordinary in the play so nothing against him, just name recognition-wise, I don’t think he has much over here.
The problem will be finding actors with names that sell a four hour show, willing to do full frontal nudity. They’re few and far between. I also don’t think most Americans know who James Norton is, unless they’ve seen “Little Women” and you show them a photo of him from it and they’d go “Oh. Ok.”
All this to say a Broadway transfer, while not something I’d ever say wouldn’t happen, is a lot harder sell than I think people think it is. Maybe after next years Olivier Awards if it does very well?
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Post by karloscar on Jun 1, 2023 13:53:13 GMT
Given how physically and emotionally demanding the role is, and how much in demand he is for other work, would James Norton want to give up another six months to do a New York transfer? I imagine he'd want to do something more lucrative and less taxing after this, even if just for the sake of variety.
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Post by couldileaveyou on Jun 1, 2023 16:55:46 GMT
Given how physically and emotionally demanding the role is, and how much in demand he is for other work, would James Norton want to give up another six months to do a New York transfer? I imagine he'd want to do something more lucrative and less taxing after this, even if just for the sake of variety. Maybe? But not a lot of actors would say no to a Broadway debut that almost guarantees a Tony nomination. |
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Post by og on Jun 1, 2023 18:00:31 GMT
Aren’t there Union rules over in NY preventing shows bringing full casts over anyway? Doesn’t it have to be something like 80% US Nationals in a Broadways cast?
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Post by Fleance on Jun 2, 2023 3:43:45 GMT
I think there's a market in NYC for A Little Life. Perhaps a limited run at the Armory, or one of the other respected but fringy houses. James Norton is popular in New York among the more literate theater-going audiences, thanks to the series Grantchester. And that SR wall of NYC video will help.
As I said much earlier in this thread, the Brooklyn Dutch version of A Little Life was, unsurprisingly, not a success. Peter Stuyvesant left these parts 350 years ago.
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