1,338 posts
|
Post by Dave B on Jan 3, 2024 18:45:19 GMT
Wondered why this wasn’t at the Royal Court or similar. Maybe it will be .. I'm pretty sure the answer is that it came together really fast as a result of the writer's strike and this was the only available venue but it would have been lovely in RC alright.
|
|
|
Post by keyspi on Jan 3, 2024 23:07:06 GMT
Wondered why this wasn’t at the Royal Court or similar. Maybe it will be .. I'm pretty sure the answer is that it came together really fast as a result of the writer's strike and this was the only available venue but it would have been lovely in RC alright. You are 100% correct. I saw this on the 30th December and at the end of it Woody Harrelson said his schedule only cleared because of the writer's strike and all the major venues in London were already taken at the time It was my first time visiting Riverside studios and apart from the chairs, I didn't think it was a bad venue at all. Hopefully Harland, Harrelson and Serkis don't regret signing up for this. I definitely didn't regret attending
|
|
|
Post by aspieandy on Jan 4, 2024 11:26:10 GMT
To be honest, it's no surprise this was the only available venue. The seating is temporary. Normally it's a flat floor with something like banquet chairs evenly spaced - at least it has been that way on my two visits prior to this.
I presume part of the ticket price covers rental of the seating.
It does beg the question of what David Ireland was planning to do before this worked out ..
|
|
22 posts
|
Post by clive on Jan 4, 2024 12:59:15 GMT
The seating is temporary. Normally it's a flat floor with something like banquet chairs evenly spaced - at least it has been that way on my two visits prior to this.
I presume part of the ticket price covers rental of the seating. The layout varies. For Tarantino Live recently it was a combination of individual seats at round tables, cabaret style at the front with rows of seats behind and at the sides. At other times it has been just the traditional rows of seating.
|
|
|
Post by keyspi on Jan 4, 2024 14:30:17 GMT
The seating is temporary. Normally it's a flat floor with something like banquet chairs evenly spaced - at least it has been that way on my two visits prior to this.
I presume part of the ticket price covers rental of the seating. The layout varies. For Tarantino Live recently it was a combination of individual seats at round tables, cabaret style at the front with rows of seats behind and at the sides. At other times it has been just the traditional rows of seating. Slightly off-topic but any idea what's the layout rake-wise of the remaining studios there? Is studio 1 larger? Is there a studio 3 🤔
|
|
22 posts
|
Post by clive on Jan 4, 2024 15:09:45 GMT
Yes, there is a Studio 3. I think it best to look at the seating on a show by show basis. Last time I was in Studio 2 it was a fixed structure of rows of seating all joined together with much more of a rake than in an average theatre setting. But that seating was obviously for assembly and then removal. I wouldn't like to rely on things being the same next time.
|
|
1,868 posts
|
Post by Marwood on Jan 5, 2024 15:32:22 GMT
I saw this on Wednesday and really enjoyed it: it could have done with fifteen minutes or so being removed and I thought proceedings sagged in the middle but all three actors seemed to be at the top of their game and having a ball.
Having seen Cyprus Avenue previously, I had an inkling how things might turn out and while it doesn’t have any bin bag moments like that did, it still cranked up the ultraviolence (I was perturbed by the idiot sitting behind me chuckling like he was watching Tom & Jerry when it began, as if a blood covered woman was some kind of punchline in itself ) but whatever David Ireland does next, I think maybe any such violence should be given a rest (the mention of Tarantino in the play, and of Martin McDonagh in the interview with Harrelson in the programme gave a hint as to the inspiration for this, but together with comments about Diana and Thatcher in the play, bits of it seem a bit dated to be honest)
The actual space the play was in seemed a bit daunting when I saw how many people were in the room, but the view I had from the centre of the second row was faultless: no craning my neck to see what was happening at any moment and I was close enough to be able to read everyone’s expressions perfectly. Yes it was expensive but still cheaper than most of the theatres in the West End, I’m glad I got to see it.
|
|
1,177 posts
|
Post by joem on Jan 6, 2024 18:50:20 GMT
No expectations, as I knew nothing of the play, and had a good long thought about paying the asking prices but... what the heck, still cheaper than the lunch at the River Cafe which preceded today's matinee.
I knew the venue so had no illusions about it but, although the seats are far from comfortable and the bar staff were engaged in a potentially dangerous civil war amongst themselves, the sight lines were pretty good.
As for the play, I loved it. It was very funny, at times grotesquely so (bit Ortonesque at times) but still dealt in interesting subjects and themes, getting away with it because, after all, it's only a comedy. I hear what some people say about violence and offense but, to me, the theatre should not always be a safe place and a safe space. People around me do all sorts of things which I could choose to find offensive every day of my life but I generally don't take it, especially when it's not directed at me. Even Only Fools and Horses has a trigger warning these days.
Loved the acting. Andy Serkis does the get short straw here a bit, his pompous self-serving theatre director is more often than not reacting to the two other characters. Luisa Harland is very good as the stubborn playwright but Woody Harrelson, an actor whose career has largely passed me by, is (to me) a revelation in his portrayal of the arrogant, ignorant and self-important caricature of an actor.
For once, a merited standing ovation.
|
|
|
Post by thistimetomorrow on Jan 8, 2024 9:16:19 GMT
Has anyone tried the in person rush for this? Wondering whether I can get there for 6pm on the dot or whether I should get there before?
|
|
|
Post by aspieandy on Jan 8, 2024 9:21:02 GMT
Has anyone tried the in person rush for this? Wondering whether I can get there for 6pm on the dot or whether I should get there before? Fwiw, when I was there I noticed the box office screen said 'limited availability' so asked and was given an upgrade several rows closer. That's just one experience but if you're up for it, could well be worth a punt.
|
|
1,005 posts
|
Post by David J on Jan 8, 2024 13:41:04 GMT
Has anyone tried the in person rush for this? Wondering whether I can get there for 6pm on the dot or whether I should get there before? I turned up early than the advertised time for the matinee and they straight up gave me the rush tickets as there were only a few available So I’d say turn up when you can and see what they can offer
|
|
4,564 posts
|
Post by Mark on Jan 10, 2024 16:55:32 GMT
Brilliant play which just kept on giving and giving. And of course three excellent performances. Definitely not one to miss.
|
|
|
Post by capybara on Jan 15, 2024 9:10:23 GMT
Quite enjoyed this but thought that while some themes were interesting, it wasn’t quite as edgy as David Ireland had hoped for.
Louisa Harland was the star.
Three stars.
|
|
|
Post by jaggy on Jan 15, 2024 22:06:58 GMT
Do they have any plans to transfer this?
|
|
|
Post by sherbetlemon on Jan 16, 2024 14:32:41 GMT
Just a note for any people looking to turn up for day tickets at Riverside Studios.
I turned up this past Saturday to try my luck for day tickets for the 2:30pm matinee (arrived at around 12:45pm), but to no success. They did mention that they tend to release any tickets that won't be used by guests of the production for performances the same day on the website (any time between usually 10am-12pm for the matinee, and any time between 10am-6pm for the evening performances). I have noticed a same day ticket or two on sale yesterday with this advice, although they're £120+ rather than the £30 the box office mentioned they would be.
Will continue trying my luck at the £30 TodayTix daily lottery!
|
|
|
Post by sherbetlemon on Jan 18, 2024 10:55:33 GMT
Actually managed to win the TodayTix lottery somehow, and got fantastic front row tickets (A17 & A18) - the stage is high but the view is terrific, with all the legroom you could desire. I will say I agree with everyone mentioning the seat issues, they're small and narrow, and I could definitely feel it on the rear end towards the end of the show.
Also, the production is definitely not 90 minutes long as advertised (it stretched towards nearly 105 minutes).
As for the show itself, I thought it was very good. The script is funny, provocative and current, and there are so many moments/lines where half the audience would be disturbed, and the other half would be guffawing. All three performers are great (Woody Harrelson really plays into his public persona, unafraid to make fun of himself and is particularly playful), and it was a wonderful experience to see them so close. My guest rose straight up at the end to start the deserved standing ovation, which shows how highly they thought of this, and the whole auditorium quickly followed.
I think there's a dearth of great black comedy these days, and this definitely helped fill that gap. Thoroughly recommended (although perhaps not if you happen to be part of the royal family).
|
|
|
Post by bigredapple on Jan 18, 2024 12:56:28 GMT
Just a note for any people looking to turn up for day tickets at Riverside Studios. I turned up this past Saturday to try my luck for day tickets for the 2:30pm matinee (arrived at around 12:45pm), but to no success. They did mention that they tend to release any tickets that won't be used by guests of the production for performances the same day on the website (any time between usually 10am-12pm for the matinee, and any time between 10am-6pm for the evening performances). I have noticed a same day ticket or two on sale yesterday with this advice, although they're £120+ rather than the £30 the box office mentioned they would be. Will continue trying my luck at the £30 TodayTix daily lottery! That’s so annoying! The website says from 1.30pm in person they’ll have day tickets? What a waste of travel. Appears to be sold out for the rest of the run
|
|
|
Post by sherbetlemon on Jan 18, 2024 15:57:15 GMT
Just a note for any people looking to turn up for day tickets at Riverside Studios. I turned up this past Saturday to try my luck for day tickets for the 2:30pm matinee (arrived at around 12:45pm), but to no success. They did mention that they tend to release any tickets that won't be used by guests of the production for performances the same day on the website (any time between usually 10am-12pm for the matinee, and any time between 10am-6pm for the evening performances). I have noticed a same day ticket or two on sale yesterday with this advice, although they're £120+ rather than the £30 the box office mentioned they would be. Will continue trying my luck at the £30 TodayTix daily lottery! That’s so annoying! The website says from 1.30pm in person they’ll have day tickets? What a waste of travel. Appears to be sold out for the rest of the run Yeah, it was a bit annoying but I had a free Saturday afternoon and thought why not try? The website does seem to be mistaken on this and the running time, so wouldn't put too much trust in what's said there. All worked out with the winning the front row tickets earlier this week, so can't complain. The TodayTix lottery appears to be the best bet!
|
|
22 posts
|
Post by clive on Jan 18, 2024 18:37:08 GMT
Not for me so far! Have been trying nearly every day, but will keep going.
|
|
355 posts
|
Post by lichtie on Jan 20, 2024 16:42:20 GMT
Back row for 30 quid made this worthwhile - not sure I found it quite as funny as other people. Perhaps because the two male characters are too broadly drawn to be remotely realistic, which just leaves farce, and not convinced farce and discussion of rape goes together. It all comes together much better once Louisa Harland appears, who gets to have the best line kept for the end. The seats are truly uncomfortable...
|
|
748 posts
|
Post by rumbledoll on Jan 30, 2024 19:01:27 GMT
Saw the show during the last week and was much impressed both by the boldness of subject matter and the physicality of the performances. Loved all three can’t really choose! Even while reading the first reports (very carefully to avoid spoilers) I just knew it would be totally up my street! I love dark comedies, the darker the better and believe it’s quite an entertaining way to get the real message across. Me and my friend got ‘caught in the crossfire’ by the splash of blood all over and it took good 20 minutes to clean if off with the help of stage management.. No, I mean my dress, my tights, even my socks (I had boots on, mind you) and my coat (which was under my seat) got covered with blood that was a bit of a shock at took me out of action for a couple of second in the final scene but all part of the fun! We laughed it off and I do understand these things are extreamly hard to stage in a way that would exclude such incidents completely.
|
|
1,199 posts
|
Post by Steve on Jan 30, 2024 22:02:27 GMT
I took my sister to the last Saturday matinee (luckily I got two £30 front row seats, or I couldn't have afforded it), and she thought it was one of the best things she'd ever seen, with 3 brilliant funny performances working perfectly off each other. I'd agree this is one of the funniest shows (these type of productions do get funnier, as a rule, the later you go, as the actors tend to keep honing the laughs as the show goes on, even after press night). And this show is perfectly cast in every role. It's also so meaningful, as well, despite being nowhere near as shocking as "Cyprus Avenue," in my opinion. Think David Mamet, in his prime, written by someone who understands identities, especially Northern Irish identities, better than anyone. This really deserves a transfer. Some spoilers follow. . . I love this as a study of identity, especially in how stable or unstable identity can be. Having the most stable, and the most powerful identity, belong to the seemingly least powerful person, is part of the genius of the piece, I feel: a female writer able to stand her own against a male director and a male acting superstar. Casting Louisa Harland was a coup for this, as her Derry Girls "identity" was so warm, cheery and benign that you can't fathom the extent of the iron self-confidence and rock-like will of this character. Harland is smiley and ingratiating on the outside, but her imperturbable poise, her utter stage calm, is like an iceberg, ever suggesting that the men's titanic egos would be better off not colliding with her. And because of that, we are ever eager to see such a collision lol! Harrelson's superstar actor ostensibly has the most power, but his character is the least self-knowing, the least stable, the most desperate for approbation, and the most likely to act out in pathetic preening power displays to assert the status that he obviously doesn't feel deep down. Harrelson clearly has an astounding grasp of this sort of acting out, presumably having seen it plenty of times, and he plays it to a perfect level of comic exaggeration, which still remains within the (outer) bounds of believable behaviour. And mediating between these two power poles (one powerful inside, the other powerful outside), is Andy Serkis's theatre director: devious and sly, obsequious, self-serving, hypocritical, calculating, people-pleasing, manipulative, and most sneakily, a jab by Ireland at the sort of right-on and liberal people who tend to go to straight plays at the theatre lol. Serkis is SO good at smugness, so pleased with himself, so good at weasily slipping and sliding in the furtherance of manipulating the others, an incredible funny caricature, critique and stand-in for the audience. Serkis character's identity is like jelly, firm at the base but wobbling opportunistically at the top, sociopathically adapting himself to manipulate others. He's absolutely marvellous in the part. Anyway, the rest has all been said in other's comments above. I loved this to the tune of a full 5 stars, gasping, laughing, cringing, tensing with suspense, for the duration. A transfer would be welcome, if possible.
|
|