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Post by Deleted on Oct 6, 2017 21:51:24 GMT
Simply spectacular
Evocative
Sad
Thrilling
A truly sensory feast
A full 3 mins standing ovation
Fond memories for the genius director
His Shakespeare stagings surpass all others
Divine
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644 posts
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Post by jek on Oct 8, 2017 17:19:20 GMT
I expected this to be a visual delight - which is was (as someone with an interest in textiles it was very special). But I was unprepared for just how moving it would be. I really felt that I had to hold back tears at various points. Loved the curtain call - especially at the very end when Masachika Ichimura broke in to an enormous grin and started punching the air. Also loved the profiles of the actors in the programme - I assume there is no equivalent to appearing in The Bill in Japan but love that one actor has won the Photogenic Award at the Junon Superboy Contest and another earns a living dubbing the likes of Iron Man. As we entered the Barbican we saw one of the Warriors having a quick cigarette before the performance began.
Obviously lots of Japanese people in the audience and - unless I am very much mistaken - Joan Plowright looking terrific in red.
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1,863 posts
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Post by NeilVHughes on Oct 8, 2017 18:25:26 GMT
One of the few times in life you get to experience something truly special.
The imagery and staging throughout was awe inspiring along with a score that added to the experience.
Similarly emotional at the curtain call.
The bar has been set very high for the National and RSC productions next year, personally cannot see how the Ninagawa staging could br improved upon.
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Post by Deleted on Oct 8, 2017 19:35:22 GMT
Perhaps it is unfair
To compare or expect
English language versions
To be able to match this staging
The acting in Ninagawa productions
Is very stylised and melodramatic
For example everyone tends to shout their lines
I am unsure if this is due to the nature of Japanese
I am not denying there were some very moving moments
But there can be a lack of emotional subtlety or certainly a narrower range of emotions
Often this actually suits Shakespeare who was often hardly the most subtle of playwrights and often felt the need to hammer home points with excessive dialogue
In any case
I don’t think the RSC or NT
Versions will be anything to compete
With the Goold version- which is my definitive English language Macbeth
Rufus Norris
Can’t direct a sh*t into the toilet properly
So don’t hold your breath
I think the RSC version may be better
Only because Niamh Cusack and Eccleston
Are good watchable actors and will bring much to their roles
For me Rory Kinnear has never impressed other than that thing at the YV directed by Richard Jones- he lacks any sort of persona or stage presence and seems like someone’s old uncle
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183 posts
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Post by caa on Oct 8, 2017 19:39:10 GMT
I left wondering if that was the last time I'll get to see the Ninagawa Theatre Company? I hope not.
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Post by Deleted on Oct 8, 2017 20:23:55 GMT
I left wondering if that was the last time I'll get to see the Ninagawa Theatre Company? I hope not. NO NO It won’t be But I will post more soon Waiting to hear back from some people |
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562 posts
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Post by jadnoop on Oct 8, 2017 21:50:55 GMT
Wow. My expectations for this were sky high, and so I'm so pleased to say that it just blew me away.
It was beautiful and exciting, and filled with so many memorable & striking moments; a cello, a blue moon, a cherry blossom tree, and on and on.
I also really loved the framing with the shutters, and the old ladies eating onigiri & bento at the sides. The sword fighting also felt surprisingly visceral and exciting, especially when there were large groups of people.
Despite being 30 years old it felt so fresh. The one thing that possibly didn't work so well for me was the use of Adagio For Strings; beautiful, but a piece of music tgat has been used so often over the past few decades in film and tv. Given the melodrama of the performances though, even that seemed to fit wonderfully.
I wasn't sure about the translation. My Japanese isn't bad, and between that and knowing Macbeths rough storyline, I mostly just glanced occasionally at the surtitles, but there seemed to be some points where no translation was given but people were talking, so I'm not sure quite what was happening.
My one regret is that I didn't go for slightly more expensive seats. We went for central, but slightly higher level seats, and so some of the framing of the layers of action was probably lost. Fingers crossed they return to the uk soon. I'll definitely be getting better tickets next time.
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Post by Jan on Oct 9, 2017 11:41:27 GMT
Despite being 30 years old it felt so fresh. The one thing that possibly didn't work so well for me was the use of Adagio For Strings; beautiful, but a piece of music tgat has been used so often over the past few decades in film and tv. To be honest when I saw the original production 30 years ago I thought the music was a little bit clichéd and incongruous, but it doesn't detract from the spectacle. |
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562 posts
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Post by jadnoop on May 5, 2018 0:11:04 GMT
A French-Japanese website is reporting that Ninagawa's Kafka On The Shore will be performed in France in early 2019. Hopefully this means it'll come back to the Barbican around then too.
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