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Post by londonpostie on Mar 18, 2023 8:11:35 GMT
Seating the three women in the audience made me roll my eyes so hard I almost passed out - what a stupid device. Ben Daniels again is terrific but the decision to have him as all the men was not a wise one for me. And his slo mo walking around changing costumes - Hun move I can't see just put a coat on and get on with it.
It's difficult directing for the round, I imagine: how do you keep sight lines open while serving the piece .. Shifting 3 women away from the stage, came Dom Cooke choice.
On the stairs: Building regs are beyond me though I guess the minimum requirement is based on evacuation times - in this theatre, how do you get out 600 people.
Really enjoyed this piece on the evolution of the project. A bunch of impressive people working over a decade and a half to max the potential (I like the walk into Soho Square, which itself is a much nicer environment now):
No issue with the seats.
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Post by teamyali on Mar 19, 2023 8:54:17 GMT
They’re not stagedooring, sadly. Miss Rona might strike again! Sophie and Ben are in their 50’s (she’s 54; he’s 58) so yeah.
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Post by bryan99 on Mar 22, 2023 10:43:20 GMT
Really enjoyed this last night. Loved the new theatre too (apart from some aspects of the interior design which felt a bit 'cruise ship'). Thought the production was outstanding. Ben D grows in stature and presence every time you see him. I couldn't help but feel that the last couple of minutes didn't 'land'. It's such a powerful scene and yet the denouement seemed to leave things up in the air somewhat, when what you (arguably) need is a clear 'conclusion'. You literally heard half the audience go 'oh - is it finished?'. Was I imagining things? Or was it supposed to be like that?
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Post by ruperto on Mar 23, 2023 9:03:47 GMT
I saw this too and agree with a lot of what Being Alive said. I really wasn’t a fan of the adaptation - too florid for my taste. It had a distancing effect and IMHO didn’t fit with the modern staging. That was the biggest issue for me.
I also agree that the slow motion walking thing for Ben Daniels’s characters was odd.
As Being Alive said, Marion Bailey was very good in this.
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Post by sfsusan on Mar 28, 2023 23:09:15 GMT
This was excellent. A barnstorming performance by Sophie Okonedo ably supported by Ben Daniels. Really great stuff. This was my first trip to Sohoplace. I rather liked it. Comfortable seats with a good clear view I completely agree. The performances were unbelievable and the show was quite intense. I was a little put off by Mr. Daniels' slo-mo circling at first, but was able to ignore it, and felt it worked quite well at the end. Looking back, it contributed to the claustrophobic, caged feeling that Medea couldn't escape her fate. And although it did end almost in mid-step, but I'm not sure the end was ambiguous... {Spoiler - click to view}
it's not like Medea is going to get away, and the ending makes it clear she's not even trying to do so. It seemed like Ms. Okonedo had to make an effort to pull herself out of character at the end, to take the curtain call. She blew out a couple of breaths and then seemed to come back to herself and smile. I'm not criticizing at all, as I take it as an indication of how intense and emotional the performance is for her, she couldn't just 'switch it off' when the lights came back up. I couldn't believe how close the audience is to the stage, and how connected that felt. And having some of the performers in the audience just reinforced that, as well as emphasizing the conceit that we were the women of Corinth come to gawk at the outcast Medea. I was in E1 and loved the high seat. It could be a bit deeper (I had my coat rolled up for lumbar support, but it pushed me too far forward in the seat.) In E, at least, there were two places you could rest your foot... a small bar directly under your feet and the lower bar on the rail that separates D from E. So you had all the knee and foot room in the world and could even dangle your legs straight down or over the lower rail. They were definitely enforcing the no peanuts rule (and in that space, it would be critical). The bag check was asking "do you have any food?", the ticket check asked "do you have any peanuts?". After the show, I saw people claiming what looked like food items that they'd had to check at the door. |
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Post by thistimetomorrow on Mar 31, 2023 22:33:26 GMT
Finally saw this with day seats. Easy process, row C stalls for £20  Sophie and Ben are very very good. Wonderful to be able to see this from up close. |
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Post by solotheatregoer on Apr 2, 2023 13:25:27 GMT
Front row for this last week. Really liked the venue as well. I found the cast members in the audience a bit gimmicky to be honest but other than that, another acting masterclass. Sophie Okonedo is an outstanding Medea. She was clearly physically and mentally drained during the bows. I was surprised that only a few audience members gave a standing ovation given the gravity of her performance. She really gives her all and I thought she deserved a better reaction at the end.
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Post by dannimaria on Apr 5, 2023 19:59:49 GMT
I always find it so interesting how different people view different things, absolutely fascinating everyone's different preferences.
For me, I felt this was an absolute masterclass from Sophie Okenedo, she had me hooked almost immediately and I couldn't take my eyes off her, you could see she was exhausted at the end. Ben Daniels switch of parts was so interesting, to be able to flick so quickly between characters must take quite a lot mentally. I agree his slow mo around the stage was a little distracting at first but I soon got used to it.
Overall I thoroughly enjoyed this performance, although if you weren't familiar with the story of Medea you would possible struggle with with the beginning as it's not crystal clear immediately why Medea is doing what she is or indeed exactly what it is she's doing.
I loved Soho Place, it was my first visit and look forward to going back, although the restaurant is spendy! The best bit was sitting around the bar afterwards and my friend waxing lyrical about how fabulous BD was before accidentally letting out a huge burp, then me advising her that BD was standing right behind her having a glass of wine with friends, she turned around and he laughed and rewarded us with a huge smile! It was very funny, she was mortified XD
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Post by Jan on Apr 7, 2023 10:22:54 GMT
Interesting they used a version from 1946 rather than commissioning a new version which is what the subsidised sector would certainly have done - if there already is a good version why not just use it ?
3* from me - Dominic Cooke channelling Katie Mitchell a bit too much for my liking and some of the moments of comedy quite ill-judged.
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Post by distantcousin on Apr 11, 2023 21:21:03 GMT
They’re not stagedooring, sadly. Miss Rona might strike again! Sophie and Ben are in their 50’s (she’s 54; he’s 58) so yeah. Oh the old Covid excuse. I wonder how many years people/organisations will use this as the greatest get-out clause in modern history... |
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Post by distantcousin on Apr 11, 2023 21:22:09 GMT
Really enjoyed this last night. Loved the new theatre too (apart from some aspects of the interior design which felt a bit 'cruise ship'). Thought the production was outstanding. Ben D grows in stature and presence every time you see him. I couldn't help but feel that the last couple of minutes didn't 'land'. It's such a powerful scene and yet the denouement seemed to leave things up in the air somewhat, when what you (arguably) need is a clear 'conclusion'. You literally heard half the audience go 'oh - is it finished?'. Was I imagining things? Or was it supposed to be like that? Couldn't agree more |
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Post by ThereWillBeSun on Apr 11, 2023 22:47:58 GMT
My first visit to this venue - they do a wonderful house red!
As for the play. I thought I was going to be blown away? I wasn’t. I didn’t like the whole sitting within the audience thing. I missed one of them (booked top level) but you’d think the direction would have included the ‘Greek Chorus / women’’ a bit more visible. I didn’t get the slow mo walking - it was so random. I liked the three male roles in one, that was clever as well as the sound design. Sophie undeniably was wonderful. However, didn’t wow me - and the ending didn’t have as much of an impact (as echoed previously)
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Post by Being Alive on Apr 11, 2023 22:58:37 GMT
My first visit to this venue - they do a wonderful house red! As for the play. I thought I was going to be blown away? I wasn’t. I didn’t like the whole sitting within the audience thing. I missed one of them (booked top level) but you’d think the direction would have included the ‘Greek Chorus / women’’ a bit more visible. I didn’t get the slow mo walking - it was so random. I liked the three male roles in one, that was clever as well as the sound design. Sophie undeniably was wonderful. However, didn’t wow me - and the ending didn’t have as much of an impact (as echoed previously) Hard agree with all this |
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Post by Jan on Apr 12, 2023 8:18:07 GMT
On the stairs: Building regs are beyond me though I guess the minimum requirement is based on evacuation times - in this theatre, how do you get out 600 people.
Hard to escape the conclusion that you don't. This time at the end they had ushers standing next to the (small) lifts at stalls level telling us to use them as "it is the fastest way to get out" - probably true given the minutes-long logjam on the single quite narrow staircase that serves the entire auditorium. With a fire alarm those lifts would be not operating. I can only assume they have some alternative evacuation routes through the backstage area somewhere to an alternative exit - there must be a stage door or loading bay where they bring in scenery or something round the back ? I mean I'm not doubting the building is fully compliant with fire and building regulations but for an audience member it's hard to see how. |
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Post by bgarde on Apr 12, 2023 10:09:35 GMT
I was overwhelmed by this on Monday evening and thought Sophie deserved one of the most widely sitting standing Os I've seen in a while. I didn't enjoy the slow motion and found it detracted from the drama on centre stage and had to crae around at the end.
But yes the very, very long wait to get out of such a newly designed building. We were also encouraged to use the lifts. After such a play it took me away from the high from the performance (just a bit) and back down to earth.
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Post by londonpostie on Apr 12, 2023 10:20:55 GMT
@jan You might be right about emergency exits. The aspect I've been stuck on is why the existing staircase isn't mirrored on the other side of the building. Looking at photos, I see it almost is - there appears to be a corresponding staircase on the western side. However, from above it descends and then stops descending at the first floor! It looks a complicated building to me; I don't know a thing about it but it felt like there was considerable vertical integration of what would more normally be lateral, i.e. stacking functionality rather than spreading. On the first floor, public space only exists (narrowly) to the north and east of the auditorium. And, at the end of the performance, we were all shuffled out of two of the four auditorium corner doors (which might speak to your point on emergency exits).
See topmost photo for staircases >>
www.architectsjournal.co.uk/buildings/ahmm-creates-west-ends-first-new-build-theatre-in-50-years |
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Post by bram on Apr 13, 2023 13:36:25 GMT
Lovely theatre. Wonderful clear production. Powerful.
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Post by londonpostie on Apr 13, 2023 22:52:28 GMT
*plot twist*
Walked past tonight and had a closer look; there is a corresponding staircase at the other end that runs the entire way down to the ground floor!! duh duh duuuuuuh
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Post by distantcousin on Apr 14, 2023 17:10:52 GMT
I really enjoyed it, but I wanted Medea to be more scary! I felt too much sympathy for Sophie's version - I almost forgave her for her deeds. I didn't like Ben Daniels playing ALL the men. I think having someone else play Creon and the Messenger would have added some variety (instead of taking jackets on and off - maybe a wig and fake moustache might have helped?!  ) Have any previous productions showed the slaying onstage, or is it always too horrifying to represent visually?
I also think the lack of set was a little detrimental too.
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Post by zahidf on Apr 14, 2023 17:35:47 GMT
I really enjoyed it, but I wanted Medea to be more scary! I felt too much sympathy for Sophie's version - I almost forgave her for her deeds. I didn't like Ben Daniels playing ALL the men. I think having someone else play Creon and the Messenger would have added some variety (instead of taking jackets on and off - maybe a wig and fake moustache might have helped?! ) Have any previous productions showed the slaying onstage, or is it always too horrifying to represent visually?
I also think the lack of set was a little detrimental too.
I saw a version at the gate theatre years ago from the point of view of the kids waiting in their bedroom and the other characters interacting with them, ending in medea poisoning them. That was intense! |
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Post by Jan on Apr 14, 2023 20:16:44 GMT
In the Almeida/Kate Fleetwood version that I thought was great (and most others here didn’t) she didn’t kill them at all, not literally at least. I think the other times I’ve seen it the killings were off-stage as in the original.
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Post by max on Apr 15, 2023 21:34:46 GMT
Great Matinee today. I think one of the joys of this is that using a decades-old version it hasn't been rendered for a particular current interpretation. It would have been easy to commission a new version, and the writer might have delivered the 'Ukraine war version' or 'Me Too version'. Instead, so many extraordinary current/relevant resonances flicker across it, but without a unified or obvious overall 'take'. Instead, the cast make it their own, with surprising, world weary, agonised, and comedic treatment of the lines - far more variety of interpretation than I expected. Really enjoyed the chorus placed amongst the audience (making us the chorus too), and of course the central performances are blazing.
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Post by rumtom on Apr 18, 2023 9:52:13 GMT
My first post on this board so go easy on my analysis. I got a day ticket yesterday - £20 Row B in the stalls - I thought it was a great production and having read some of the posts on here I knew a bit of what to expect. I actually thought the slow motion worked really well, and it is probably a practical solution to acting in the round but I also thought it added to the tension by having an ever present figure circling the action. Acting was excellent all round and a well deserved standing ovation at the end. I thought the theatre was great. In the stalls it was great to be close to the action but also felt very intimate with the balconies so tightly built around the stage. A slow exit was pretty frustrating though!
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Post by stevemar on Apr 27, 2023 16:34:38 GMT
A bit late to this as it’s closed, and seen in mid-April but this was an excellent production.
I thought Sophie Okonedo was superbly intense and took you with Medea’s “logic”. Ben Daniels excellent as usual (though was uncomfortable with the camp portrayal of Aegeus and the laughs which accompanied this). I didn’t mind his slo-mo movement circling of the prey, after the warnings posted here. Better rain than the Almeida Streetcar too.
Much more intense than the director’s jerky chorus movement and additions in the National effort, though Helen McCrory saved that. Didn’t like the Almeida changed ending a few years ago.
This is a great venue in terms of atmosphere and sightliines too. Stars (theatre) restaurant was fine but not outstanding.
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Sophie and Ben are very very good. Wonderful to be able to see this from up close.
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