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Post by David J on Dec 18, 2019 21:21:41 GMT
Not spoon fed. Sure. And as I said I correctly guessed what had happened.
The problem is that up till that point the play didn’t jump ahead between scenes and left the audience to figure out some major plot points.
That and right before that last scene had been such an emotional high point with George and moira coming together and that girl seeing her and running off as intoanewlife says. I felt joyous and scared for the pair. Then suddenly we’re brought down to earth and left to put together the pieces
Ill judged I feel. Is that whole bit of the girl running round and round the stage part of the script or something the director put in the heighten the emotion?
I sound like I’m making this worse than it is. I’d still say half of the play, from Fra Free’s entrance to the pair coming together, is really good
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Post by David J on Dec 18, 2019 17:53:01 GMT
I loved it up until the Moira/George scene (which as others have said was just beautiful), then it just became confusing after that. The girl is running around the stage and the next minute the brother is leaving town and George is missing. Was he meant to have seen them or not because we never saw that? Then the soldiers turn up and say they are going to destroy the entire area if he is not found. Really? Would they have REALLY done that because one soldier went missing? Or are we to take it that was their plan all along and they were just using this event as a catalyst? Then the Father starts babbling about something I couldn't hear very well, and then it was all over. It all just felt like such a contrast to Act 1 which despite taking a while to warm up, was so beautifully written and interesting. In the end I was left feeling a bit baffled instead of shaken like I think I was supposed to when those lights came on. I've looked up the plot in wikipedia and ultimately what happens between those scenes are left vague. It is hinted that George is attacked, possibly by the twins that we never see who stole some army equipment earlier in the play. That was my theory as I tried to follow the action. I can't believe George only wanted to sleep with Moira once and leave her Why Friel wanted to leave this vague I've no idea and it rather ruined for me what happened in the first half of the second act As for the soldiers threatening to scorch the land, I'd put it down to the ingrained animosity and suspicion between the english and irish over the centuries. Especially with the english working to anglicise Ireland. Its possible George's absence was the excuse they were looking for to destroy everything
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Post by David J on Dec 18, 2019 9:02:12 GMT
Well I’m going to put my two cents here and say I’d take Fryl to give me a dose of politics over the ton of plays that come out these days. He’s a bit like Chekhov and Ibsen where he writes about people and their lives who react to what’s going on in the world
It’s more subtle that way where the politics seep through the floor boards and the audience is left to discuss what they saw. I’d rather see that than a play where the playwright outright says whatever trending issue he’s going to address or make a big ham fisted coup de theatre by the end
Which is why I felt the ending took away from what was otherwise an interesting and occasionally poignant play
I agree the play slows down at times. It suddenly picked up for me when Fra Free turned up. That lad needs more attention because he works everyone beautifully and even when he’s not talking I enjoyed watching the facial acting he gives
I also enjoyed the moments between the locals and the soldiers trying to understand one another and the scenes between Owen and George working out how to anglicise the places names. A brilliant example of how to drive home your message
The acting all round I can’t complain.
Also the scene between George and moira is one of the most heart felt moments I’ve seen all year. It’s just a shame that, like previous posts have said, I couldn’t understand what happened between scenes in act 2
So yes this is a mixed bag. Not one of friels best and I could have done without the ending. But otherwise something I’m happy to have seen elevated by the acting
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Post by David J on Dec 16, 2019 17:09:00 GMT
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Post by David J on Dec 8, 2019 14:20:08 GMT
Or sixth option: I’m only interested in the cast now
And allow me to vote for the fifth one as well. I also have le miserable burnout
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Post by David J on Dec 4, 2019 1:20:04 GMT
Best Revivals of 2010
1. The Homecoming (RSC, 2012) 2. Who's Afraid of Virginia Woolf (Bath, 2014) 3. The Rover (RSC, 2016) 4. An Enemy of the People (Chichester, 2016) 5. Pinter at the Pinter - New World Order/Mountain Language/One For the Road/The Collection/Night/Night School 6. The Resistible Rise of Arturo Ui (Chichester, 2012) 7. Rutherford and Son (Northern Broadsides, 2013) 8. The Caucasian Chalk Circle (Unicorn, 2015) 9. The Jew of Malta (RSC, 2015) 10. All My Sons (Apollo Theatre, 2010)
Runners Up A View from the Bridge (Young Vic, 2014) Peter Pan (Regent's Park, 2015) Orpheus Descending (Menier Chocolate Factory, 2019) Rosmersholm (Duke of York, 2019) Journeys End (Watermill, 2014) For Services Rendered (Chichester, 2015) Man + Superman (NT, 2015) The Goat, or who is Sylvia (Haymarket, 2017) Fathers and Sons (Donmar, 2014) Uncle Vanya (Chichester, 2012)
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Post by David J on Dec 4, 2019 0:33:37 GMT
Just to update my best revivals
1. Carousel (Arcola Theatre) 2. Gypsy (Chichester/West End) 3. Company (Gielgud Theatre) 4. Urinetown (St James's Theatre) 5. Sweeney Todd (Twickenham) 6. Carrie (Southwark Playhous) 7. Calamity Jane (Watermill Theatre) 8. In the Heights (Southwark) 9. Into the Woods (Regent's Park) 10. Jesus Christ Superstar (Regent's Park)
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Post by David J on Dec 1, 2019 14:57:30 GMT
There's so many
Michael Boyd's Henry VI trilogy was full of moments I will never forget. I'll go with the very beginning of Part 1 watching the once great Henry V descend down the stairs, stood at his grave, doubled over coughing blood and crawled into it whilst this tolling music played. It's played in this video. That set the tone for what was to be the most thrilling theatre I've seen over the entire Histories eight play cycle with that music played multiple times.
Later on in that cycle there was the moment when Jonathan Slinger's Richard II, just after a painful deposition scene, was left on stage as dust fell on him. One of the saddest moments I've seen
I'll never forget the first Beauty and the Beast UK tour. The Beast singing If I Can't Love Her as the set turned to reveal the balcony followed by that Entr'acte was what turned me into a musicals fan.
I salute the Arcola Theatre for their production of Carousel. One of the most imaginative pieces of theatre I've seen done in a small space. Highlighted when, after the fun fair sequence, they pulled out a tree made out of cloth out of a box that hung above the stage. Magical
Chitty Chitty Bang Bang flying is another. So too watching the structures turning to become the barricade in the Les Miserables 10th Anniversary Concert video. Looks more dramatic than watching that it live at the queens. The staircase number in 42nd Street for sure, especially watching from the front row.
Bert's proscenium walk was jaw dropping seeing it for the first time during Mary Poppins during it's preview run in Bristol. Temper, Temper however was perhaps the scariest moment I've seen on stage.
I could pick a few in the Old Vic's Christmas Carol, but I'll choose the moment the cast sang Christ was Born on Christmas Day around the theatre as the snow comes down and Scrooge wakes a redeemed man.
The ending of Harry Potter and the Cursed Child Part 1 was the highlight of that series. The reveal and the appearance of the dementors, even if I was near the back of the stalls and couldn't see a lot. The reactions from the fans was enough.
Watching the ending of Maria Aberg's As You Like It with the cast singing Laura Marling's glorious music just left me grinning.
The revolve turning non-stop in Peter Pan Goes Wrong
That moment in the King Lear when the remaining characters run to save King Lear and Cordelia and we wait. The only time I was wishing the inevitable didn't happen was in the Derek Jacobi production. The only Lear I cried for.
The ending of Rupert Goold's Merchant of Venice watching Portia dancing on one high heel shoe whilst that Elvis Presley impersonator sang. Also the violent and fiery fight scenes in his Romeo and Juliet
Hans Kelsing as Richard III pretending to mockingly phone Obama and Merkel in Kings of War. I'd also mention his Friends Romans, Countrymen in Roman Tragedies but Ray Fearon in Gregory Dorans African Julius Caesar had me hooked.
Sylvester McCoy's Fool being hanged in the 2007 Ian McKellan King Lear
The reunion scene in Dominic Drongoole's Pericles was so heartfelt. It was if Pericles' daughter was remembering herself as he gradually recognised her.
That moment at the end of act 2 in the Bath production of Who's Afraid of Virginia Woolf when Tim Piggot Smith's George snapped and left. It's the only time I considered leaving in that interval and not because the production was bad.
I still remember Joe Dixon as Bottom, with a large furry ass' head on, singing 'The ousel cock so black of hue' like a DJ in the Gregory Doran's 2008 revival of his Dream. Had me in stitches
In Matilda the Musical I don't like the moment where Miss Trunchball reveals the endless chokey's she built, but I have to say the way they did it when the musical opened in the Courtyard Theatre was very effective. It felt like the whole audience was trapped. Much better than the lasers but obviously not achievable in the Cambridge Theatre
The bookshelves toppling over and the bear puppet made of book pages appearing in David Farr's The Winter's Tale.
Sitting in the Watermill Theatre for the first time for Calamity Jane I couldn't have asked for a better into to this that theatre. Felt like you were part of the action with the whole place set out like a saloon and the actors up close playing the instruments and singing. Glorious.
Adrian Edmondson's Malvolio realising that he was played in what was otherwise the average 2017 RSC production. Even made one of his tormentor's regret what they did. Just shows how tragic that character can be.
Cynthia Erivo's I'm Here in The Colour Purple. The only time I've seen a song get a standing ovation.
That controversial act in George Bernard Shaw's Man + Superman turned out to be one of the funniest scenes I've ever seen in the Simon Godwin production. If Tim McMullan is the Devil for real than sign me up for hell because he had me stitches
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Post by David J on Nov 30, 2019 17:59:29 GMT
Here at the Mayflower for the new cast’s second night First of all everyone gave a huge applause for Nic Greenshields Stars and rightly so. What vocals does that man have A shame Dean Chisnall doesn’t match that. I saw him at the last queens performance and his singing was fine but not strong. Enjoyed his acting but that was it. Here it’s exposed in this big venues overshadowed by Greensshields and Katie Hall. Maybe he’ll improve as time goes on but he sounded the same as back in July The show however really picks up when the students come on. Felix Mosse was practically a kid as Marius and I was grinning watching him. It’s clear he’s having a great time. I can’t wait to see if he develops in the second act It made the red and black scene more dynamic as he and grantaire were the troublemakers whilst the rest were the grown ups. Quite impressed by Barnaby Hughes as Enjolras ↑ Has Dean improved since? I am thinking of catching the tour at one point and I don't really want a weak JVJ. Dean is fine as JVJ. Sitting close to stage in the queens production I felt his his acting stood out than his singing, which has its limitations. I was in fact keen to see him again in this tour. He’s just exposed in this larger production, especially next to Nic and Katie. I felt the production kicked up a notch when the students arrived. He’s not going to spoil your night. You may enjoy him more than me
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Post by David J on Nov 29, 2019 23:21:33 GMT
Oh and because I'm a fan, here's the Shakespeare plays that defined the decade for me.
1. King Lear with Derek Jacobi (Donmar, 2010) 2. Maria Aberg's As You Like It (RSC, 2013) 3. Henry IV with Roger Allam (Globe, 2010) 4. Simon Godwin's Twelfth Night (NT, 2017) 5. Hamlet with Andrew Scott (Almeida, 2017) 6. Rupert Goold's The Merchant of Venice (RSC, 2012) 7. Gregory Doran's Julius Caesar (RSC, 2012) 8. The Tempest with Tim McMullan (Sam Wanamaker, 2016) 9. Richard III with Tom Motherland (Headlong, 2019) 10. Rupert Goold's Romeo and Juliet (RSC, 2010)
Runners up Simon Godwin's Hamlet (RSC, 2016) Blanche McIntyre's The Comedy of Errors (Globe, 2014) King Lear with Frank Langella (Chichester, 2013) The Tempest (Donmar/Kings Cross, 2016) Richard III with Greg Hicks (Arcola, 2017) Antony and Cleopatra with Eve Best (Globe, 2014) Maria Aberg's King John (RSC, 2012) David Farr's The Tempest (RSC, 2012) Roxanna Silbert's Measure for Measure (RSC, 2011) Dominic Dromgoole's Pericles (Sam Wanamaker, 2015)
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Post by David J on Nov 29, 2019 22:57:26 GMT
My top 10 revivals are
1. Who's Afraid of Virginia Woolf (Bath, 2014) 2. The Rover (RSC, 2016) 3. An Enemy of the People (Chichester, 2016) 4. The Resistible Rise of Arturo Ui (Chichester, 2012) 5. Rutherford and Son (Northern Broadsides, 2013) 6. A View from the Bridge (Young Vic, 2014) 7. The Caucasian Chalk Circle (Unicorn, 2015) 8. The Jew of Malta (RSC, 2015) 9. Peter Pan (Regent's Park, 2015) 10. All My Sons (Apollo Theatre, 2010)
Runners Up Orpheus Descending (Menier Chocolate Factory, 2019) Rosmersholm (Duke of York, 2019) Journeys End (Watermill, 2014) Oresteia (Almeida, 2015) For Services Rendered (Chichester, 2015) Man + Superman (NT, 2015) The Goat, or who is Sylvia (Haymarket, 2017) Fathers and Sons (Donmar, 2014) Summer and Smoke (Almeida, 2018) Uncle Vanya (Chichester, 2012)
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Post by David J on Nov 29, 2019 22:23:00 GMT
Here's my top 10 new plays, and again those that first premiered in the 2010s.
1. The Orphan of Zhao (RSC, 2012) 2. A Christmas Carol (Old Vic, 2017) 3. Pressure (Chichester, 2014) 4. The Flick (NT, 2016) 5. This House (Olivier production, 2013) 6. The Play that Goes Wrong (2014 tour) 7. Downstate (NT, 2019) 8. Wolf Hall/Bring up the Bodies (RSC, 2014) 9. Di, Viv and Rose (Vaudeville, 2015) 10. And then came the nightjars (Theatre 503, 2015)
Runners up The Nether (Royal Court, 2014) The Curious Incident of the Dog in the Night (NT, 2012) Rotterdam (Arts Theatre, 2017) The Children (Royal Court, 2017) The House they Grew Up In (Chichester, 2017) Snow in Midsummer (RSC, 2017) Land of our Fathers (Trafalgar Studio 2, 2016) Blink (2014 tour) Collaborators (NT, 2011) Harry Potter and the Cursed Child (2016)
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Post by David J on Nov 29, 2019 21:30:06 GMT
And I'm going to include the top 10 musical revivals and those that didn't get into the my new musicals list. This is not just for the material, but for the productions that stuck with me, the performers who gave inspired performances and the imagination that went into these shows, or even elevated the marerial. These defined the 2010s for me
1. Carousel (Arcola Theatre) 2. Gypsy (Chichester/West End) 3. Urinetown (St James's Theatre) 4. Sweeney Todd (Twickenham) 5. Carrie (Southwark Playhous) 6. Calamity Jane (Watermill Theatre) 7. In the Heights (Southwark) 8. Into the Woods (Regent's Park) 9. Jesus Christ Superstar (Regent's Park) 10. Les Miserables (25th Anniversary Tour)
Runners up Titanic (Charing Cross) The Woman in White (Charing Cross) 42nd Street (Drury Lane) A Chorus Line (Palladium) The Colour Purple (Menier Chocolate Factory) The Beautiful Game (Union Theatre) Sweeney Todd (ENO) Ragtime (Charing Cross) Wonderful Town (2012 UK Tour) Five Guys Named Moe (2017 revival)
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Post by David J on Nov 29, 2019 20:24:16 GMT
I've only chosen the musicals that first premiered in this decade. Products of their time so to speak. So anything that premiered elsewhere before and finally premiered here in the UK in the 2010s are not included.
And as much as we decry the state of British musicals, I'm glad to see some equally brilliant home-grown ones as well as American ones
1. The Clockmaker's Daughter 2. Matilda 3. Come from Away 4. Romantics Anonymous 5. The Curious Case of Benjamin Button 6. Groundhog Day 7. The Grinning Man 8. The Scottsboro Boys 9. Beautiful 10. Fun Home
And the runners up Hamilton Everybody Loves Jamie Sunny Afternoon The Book of Mormon Superhero Death Takes a Holiday Murder for Two Princess Caraboo
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Post by David J on Nov 29, 2019 17:05:45 GMT
He and earl carpenter make a right old pair aren’t they
I saw earl carpenter host a concert at the Mayflower about two years ago. He told an anecdote about the time he was the phantom for the 20th anniversary performance. Michael Crawford was attending and Cameron, knowing earl, came round to tell him no funny remarks during the curtain call speech. But earl couldn’t help starting with a frank Spencer impersonation
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Post by David J on Nov 28, 2019 22:52:20 GMT
Quite enjoyed this. Laughed mostly at Andrew Scots performance and deservedly so. Good performances all round. Agree that the gender swap casting wasn’t entirely perfect but i was fine with it
Found some of the camera shots odd. I take it the movement of the camera were limited in the old vic but at times you couldn’t see the actors faces because they were out of frame
But who the hell was that red haired guy who did the introduction. His delivery was horribly stilted with a creepy smile and stare
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Post by David J on Nov 28, 2019 22:33:55 GMT
Jack Absolute Flies Again will be broadcast on NT Live. It was announced at the Present Laughter screening
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Post by David J on Nov 23, 2019 23:12:24 GMT
I saw this last Tuesday on the Children in Need Gala Night - not that it was advertised as that when I booked it. I did enjoy the show and I'm very glad I've seen it, but I didn't love it. I was very excited going in to see it, so perhaps my expectations were too high. Firstly Charlie Stemp was fantastic as Bert, I really liked Zizi's MP and the kids were great as were their parents and the lady playing the cook. I wasn't keen on the statues and the Neleus storyline, or the Playing the Game part which was very creepy. I hadn't seen it when it was last in the West End, so perhaps would have looked on the show differently if it was something we'd been taken to see when I was younger. Overall I think it was too long, I wasn't keen on the new Stiles and Drew songs and I think mostly I was wishing they'd kept a bit more of the film stuff in. Which I realise isn't really the point of the stage version, but it did definitely feel like something was missing. I did love Step in Time, I wish all the dancing had been as good as that sequence. Bert's walk around the proscenium was fab too, and I really loved Mary's final flight, which thankfully worked. The cast are definitely better than the production I think, as mentioned above. I'm glad I've seen it, but don't feel the need to see it again sadly, and I was sure it would be something I returned to. This really does describe how I felt about this too! Mary Poppins was probably my favourite film as a child and was going for the nostaglia purposes but it was just SO different and I didn't really connect with it. Play the Game was creepy but I also thought Spoonful of Sugar was quite creepy in this too as she was giving everyone medicine to make them behave and it was all a bit sinister. I'm sure in the film there was actually a reason for the medicine and it wasn't just to drug them all! What's interesting is the new moments you mention are in fact taken or based on stories from P.L. Travers' books which is famously different from the film. Nelius, Mrs Corry and her daughters, Miss Andrew, the gingerbread stars, the fact Mary comes and goes, and her entrance in Let's Go Fly a Kite, they're all from the books. jimhillmedia.com/editor_in_chief1/b/jim_hill/archive/2008/06/20/mary-poppins-photo-essay.aspx'Temper, Temper', the song 'Playing the Game' replaced, is loosely based on the chapter "Bad Wednesday" which when reading it sounds creepy. In "Temper, Temper" Mary leaves the children to the toys who puts them on trial for loosing their temper. Watching that song as a kid who only knew the film Mary Poppins it really scared me and watching Mary leave by the interval I thought this isn't the Mary I knew. Which is why I personally love this musical adaptation for being different from the film, though I get that it feels padded out.
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Post by David J on Nov 22, 2019 14:34:01 GMT
Has anybody got any clue that Earl is on tonight?
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Post by David J on Nov 19, 2019 23:52:14 GMT
Liked Ian Hughes as Thenardier. Keeps the clowning limited to the hand gestures. He and Helen Walsh makes a good pair
Barnaby Hughes is good vocally and he has a commanding presence as Enjorlas. Hopefully he will bring more as the tour continues
Frances Mayli McCann started off well as the teasing Eponine, but she lost me at On My Own. Plays it lightly with too many theatrical arm and hand gestures that it looks like she hasn’t got to grips with the emotion or story of the song. Early days, but considering where everyone is at I watch her performance and think “seriously”
Felix Mosse brings some sincerity to his Marius by empty chairs at empty tables. Certainly my favourite newcomer to the cast. Liked the dynamic between him, Enjorlas and Connor Jones as Grantaire, even if the latter is a bit OTT with a weird drunken walk
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Post by David J on Nov 19, 2019 21:24:52 GMT
Here at the Mayflower for the new cast’s second night
First of all everyone gave a huge applause for Nic Greenshields Stars and rightly so. What vocals does that man have
A shame Dean Chisnall doesn’t match that. I saw him at the last queens performance and his singing was fine but not strong. Enjoyed his acting but that was it. Here it’s exposed in this big venues overshadowed by Greensshields and Katie Hall. Maybe he’ll improve as time goes on but he sounded the same as back in July
The show however really picks up when the students come on. Felix Mosse was practically a kid as Marius and I was grinning watching him. It’s clear he’s having a great time. I can’t wait to see if he develops in the second act
It made the red and black scene more dynamic as he and grantaire were the troublemakers whilst the rest were the grown ups. Quite impressed by Barnaby Hughes as Enjolras
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Post by David J on Nov 19, 2019 12:45:57 GMT
As for the other rarities here’s my recommendations if you hard pressed to find a production
Henry VIII: the globe production on their player is a good Titus Andronicus: again recommend the one on the globe player Two gentlemen of Verona: get the rsc DVD Timon of Athens: the broadcast of the rsc production is tomorrow and hopefully there will be a dvd, otherwise go and see the 2012 nt broadcast at the archive Henry VI: the touring globe production is on the globe player. I’d recommend watching the Michael Boyd version at the rsc archive King John: see one at the rsc archive. Perhaps the Maria Aberg one for something ‘different’
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Post by David J on Nov 19, 2019 12:14:38 GMT
The one thing I recommend you do next year is see Pericles at the RSC, since that’s one of the least performed plays. In fact if you can have a few days in Stratford and watch recordings of previous productions at the birthplace archive. Michael Boyd’s Henry VI trilogy are the three things I’d go and watch. Based on the performances I have seen Pericles is not that rare, it's in the middle of the list. The rare ones are: Henry VIII Titus Andronicus Two Gentlemen of Verona King John Henry VI I,II,III Timon of Athens Comedy of Errors And for all of those except Henry VIII I have been to productions within the last few years. I suppose I should say the most Shakespeare I have seen was at the leading theatres like the RSC, Globe and NT. Looking at my spreadsheet (yes I have one), the plays I have looked elsewhere to see are King Lear and Richard III And since 2007 I have seen more Comedy of Errors (the 2007 Nancy Meckler revival tour, 2012 RSC, 2012 NT Dominic Cooke, 2014 Globe Blanche McIntyre, 2016 Antic Disposition) than Pericles (2015 Sam Wanamaker, 2019 Globe Tour). I missed the NT's community Pericles last year. So you could say you would have to look further afield to other companies or the fringe to see a production of Pericles
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Post by David J on Nov 19, 2019 7:56:34 GMT
I have only read a few of his plays and seen almost nothing live (I only saw As You Like It at the Edinburgh Fringe one time and that was... not a good production). I have seen a couple of filmed performances, movies, and readings, though. I recently started to really like learning about Shakespeare and discovering his plays, because it is all so new to me! I'm not from the UK, so we only did one play in secondary school and that was it. Didn't even mention his others plays. I am trying very hard to amend that now. So, my 3 favourites so far: - Romeo and Juliet: This was the play we analysed in secondary school and I was so excited that we got to do this one! No one else was of course, but I was so into it! Love it! I know too much of this by heart and can frequently be heard muttering beautiful passages under my breath on my way to work/home. People must think I am crazy... - Much Ado About Nothing: When I decided I wanted to educate myself on Shakespeare, I chose this play as a starter and it was hilarious! I took David Tennant's version as a guide to introduce me to the world of Shakespeare and properly watch/read it. I cried with laughter. That's when I realised Shakespeare's comedies could actually be funny and his work is still very relevant today and not at all stuffy and boring as I was (kind of) led to believe in secondary school. - Macbeth: I haven't fully read this yet, but I have read some shortened versions of it. The theme of ambition really speaks to me and it serves as a nice cautionary tale. Next year, I will be living in the UK (finally!) and my goal will be to see some (good!) productions of Shakespeare plays So, maybe I can make a more educated decision on my top 3 favourite Shakespeare plays by the end of next year The one thing I recommend you do next year is see Pericles at the RSC, since that’s one of the least performed plays. In fact if you can have a few days in Stratford and watch recordings of previous productions at the birthplace archive. Michael Boyd’s Henry VI trilogy are the three things I’d go and watch. The NT also shows their previous broadcasts at their archive including Twelfth Night, Othello, and Derek Jacobi’s unsurpassable King Lear. Otherwise see Pericles at the cinema as well as Comedy of Errors and Winters Tale. The NT’s Romeo and Juliet should be broadcasted as well. There’s also the RSC DVDs of their broadcasts. Their recent release of the rarely performed Troilus and Cressida I’d recommend. Their BBC film of their African Julius Caesar is also a must see The online Globe Player is also your friend here where you can rent and watch their recorded productions, and they’ve got many of the plays to watch. If there’s two things you should watch it’s the Henry IV plays with Roger Allam giving the best Falstaff in recent years. They also have the Globe to Globe series where all the plays were performed back in 2012 by different companies in the world, all in different languages if you’re up to it As to seeing live performances, the Globe should be announcing their next season soon. If your living in London there should be all sorts of productions performed in the fringe. There will also be regional productions like Coriolanus in Sheffield
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Post by David J on Nov 18, 2019 7:32:59 GMT
Again this is difficult. I could say Richard iii is a personal favourite because of the role but the play as a whole feels clunky to me. It’s why this years tom motherland production is now my favourite version because it cut out bits that brought the pacing to a halt
I’d say the plays i most like to see again are
Henry IV Part 1 Twelfth Night King Lear
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