1,494 posts
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Post by Steve on Apr 8, 2016 18:56:26 GMT
Overall, I found this a moving and sometimes terrifying play. If Danny Sapani isn't on the Best Actor list for the Oliviers next year, then we're either in for some stonking performances still to come, or something suspicious will have happened... But the more I thought about it afterwards, the more I felt the story didn't quite hang together. It didn't seem likely to me that Tshembe would have such strong feelings about his country so quickly, having travelled so far and so widely for so long, and built a firm family unit elsewhere. And I was totally baffled why (major spoiler ahead - really, don't click if you don't want the ending revealed) {Spoiler - click to view}
he stabbed his brother at the end. Purely because of what he represented? For selling out Peter? Either way, it seemed a bit drastic to me for a man who seemed to consider family so important. The fact I didn't even consider all of this until later is testament to the power of the acting, of course. {Spoiler - click to view} think the beauty of the ending is precisely that a civilised man loses his bearings and becomes primal and unreasoned again.
Danny Sapani does a phenomenal job of showing a man walking a knife's edge between, on the one hand, reason, compassion and understanding, and on the other, unstable unbridled fury about colonialism and it's consequences, so that when he gives way to savagery, I for one, believe he always had it in him, and also, that the system of colonialism pushed him there. |
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Post by Deleted on Apr 8, 2016 18:57:29 GMT
My handbag is large enough to carry a hardback book and assorted other things in it so a bit unacceptably large by the NT's standards but whenever they've argued about it we usually compromise with me promising to keep it on my lap for the duration.
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661 posts
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Post by Oleanna on Apr 8, 2016 23:14:00 GMT
Isn't the main issue with items stored under the seats at the National is that it interferes with the ventilation system?
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Post by Deleted on Apr 9, 2016 7:29:28 GMT
Isn't the main issue with items stored under the seats at the National is that it interferes with the ventilation system? That may be true - but given the place was like an oven as soon as we walked in, I reckon they may have bigger problems with their ventilation system! ;-) |
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Post by Deleted on Apr 9, 2016 8:29:46 GMT
Isn't the main issue with items stored under the seats at the National is that it interferes with the ventilation system? But why is it suddenly a rule in that case? As I recall, it first came out as a security/reassurance thing after the Paris attacks; though since none of the attackers were old ladies smuggling AK47s in their handbags, I think it's more for the look of it than any practical purpose. |
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Post by Deleted on Apr 9, 2016 9:41:02 GMT
It's not suddenly a rule, they've always asked for larger bags to go in the cloakroom and smaller bags to not go under the seat (or, if not always, it's still been the case for a good couple of years at least). They seem to fluctuate on enforcing it, but I've just grabbed my nearest free cast list (London Road, Olivier transfer, 2012) and it's pretty keen that only small bags go in the auditorium.
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Post by Deleted on Apr 9, 2016 10:01:45 GMT
Also the free cast list for Edward II (Olivier, 2013) makes specific mention of the ventilation system under the seats, asking that you not put your "coats etc" under there. (Checking free cast lists for evidence would be much easier if I filed them instead of just sticking them in a box.) I think the signs get less frequent the further up you go - I honestly can't remember there not being one on Lyttelton stalls level, and I feel like I've spied them on Olivier stalls level, but I'm not sure about Lyttelton circle and I don't remember ever seeing one on Olivier circle. I guess they assume you're going to see the signs on your way up and will take the initiative to stop at the cloakroom before heading upstairs? Bold idea...
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Post by Deleted on Apr 9, 2016 11:39:53 GMT
It's not suddenly a rule, they've always asked for larger bags to go in the cloakroom and smaller bags to not go under the seat (or, if not always, it's still been the case for a good couple of years at least). They seem to fluctuate on enforcing it, but I've just grabbed my nearest free cast list (London Road, Olivier transfer, 2012) and it's pretty keen that only small bags go in the auditorium. I've been going to the NT for donkeys years and it's only recently that the same bag is an issue so they are definitely implementing much more thoroughly now. The stuff about ventilation isn't new, I agree, but the recorded announcements about bags stress the security angle and that's what the new rigour appears to be about. On one occasion I pretended I didn't hear the usher and kept going, and got away with it if anyone wants to try that tactic! |
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Post by Deleted on Apr 14, 2016 13:15:56 GMT
Well. I was gripped. I wasn't sure whether it was going to be all a bit preachy but I really liked it and didn't really notice the running time. Great performances all round although Elliot Cowan's costume was waaaaay too loose for my liking.
Also got confused right at the beginning of the play and thought I was back at The Crucible. I was waiting for Richard Armitage to come on and wash himself down but alas . . .
Oh and I do love the Olivier revolve. Gillian Anderson would have had a field day on it if they'd done 'Streetcar' at the NT.
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1,103 posts
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Post by mallardo on May 11, 2016 6:21:50 GMT
I saw this last night - so glad I did. It's amazing to think of this as an "unfinished" play - Lorraine Hansbury was still working on it when she died so tragically at age 34 - because it feels utterly complete. It's cleverly plotted, the characters immaculately drawn and, as Steve said in his review, everything pays off.
It's a big play with big themes but it never for a moment felt overblown or preachy. We get all sides, no one is without a voice, even the bad guy (Clive Francis, wonderful) gets a long and eloquent speech providing a context for his hateful actions. This is great writing.
Loved the production, loved the cast. It's one of those shows where one feels fortunate to be there, to have such an opportunity. No other theatre in the world could mount a production like this, of such scope and quality. For all its flaws, how lucky we are to have the NT.
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3,575 posts
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Post by showgirl on May 11, 2016 6:38:28 GMT
It doesn't actually finish until 2 June - you had me worried for a moment, mallardo, as I knew I'd booked for June!
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353 posts
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Post by cirque on May 11, 2016 7:09:00 GMT
les Blancs is indeed magnificent.....I do think NT under Rufus Norris is really getting to grips with the formation of a very strong repertoire. Looking forward to Ivo Van Hove Hedda Gablet.........
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353 posts
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Post by cirque on May 11, 2016 7:09:34 GMT
Gabler. Whoops.
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1,103 posts
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Post by mallardo on May 11, 2016 7:18:46 GMT
It doesn't actually finish until 2 June - you had me worried for a moment, mallardo, as I knew I'd booked for June!
Yikes! Why did I think it was ending? Thanks so much for correcting me, showgirl!! I edited my post.
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Post by Deleted on May 11, 2016 8:51:15 GMT
Yikes! Why did I think it was ending? Probably because it's not playing for the next three weeks (while The Threepenny Opera arrives) and then has just four midweek performances to end its run. |
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716 posts
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Post by theatre-turtle on May 11, 2016 9:04:36 GMT
Yikes! Why did I think it was ending? Probably because it's not playing for the next three weeks (while The Threepenny Opera arrives) and then has just four midweek performances to end its run. Does anyone know why it has such a weird schedule? Why not have a normal 8 show week and end the run earlier |
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Post by Deleted on May 11, 2016 9:17:05 GMT
Does anyone know why it has such a weird schedule? Why not have a normal 8 show week and end the run earlier The schedule is quite usual for the NT which usually has two plays in repertoire in each theatre. The advantage is that this extends the run of each production (doubling the length of the run) and so a visitor to London at any time has a choice of up to six NT productions whereas there would only be three on offer (in three theatres) if the shows all had straight runs. Having said that, the Dorfman is switching to straight runs in July! |
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716 posts
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Post by theatre-turtle on May 11, 2016 10:52:02 GMT
Does anyone know why it has such a weird schedule? Why not have a normal 8 show week and end the run earlier The schedule is quite usual for the NT which usually has two plays in repertoire in each theatre. The advantage is that this extends the run of each production (doubling the length of the run) and so a visitor to London at any time has a choice of up to six NT productions whereas there would only be three on offer (in three theatres) if the shows all had straight runs. Having said that, the Dorfman is switching to straight runs in July! Thanks. - is there a reason commercial theatres don't do the same?  |
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Post by Deleted on May 11, 2016 13:16:06 GMT
Facilities, I expect. The visible stage space of the Lyttelton is but a fraction of the space, as they've got room in both the wings and the flies to store and entire stage-sized set if necessary. With many commercial theatres, it's a struggle to imagine where they even put dressing rooms, let alone where they could fit a whole other production.
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Post by Deleted on May 11, 2016 14:18:52 GMT
And cost of the acting company. Which used, in the past, to be less of an issue when all the productions in repertoire were cast from a permanent company. But now, usually, each play is cast independently and so two plays in rep doubles the cost of the actors.
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