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Post by David J on Apr 20, 2019 21:23:12 GMT
So I saw the matinee and am inclined to give this a 2.5 star rating. It would have been 2 stars if the second act didn’t bring things together
I was sitting next to two nice old ladies who had a lot of knowledge of Chekhov and we came to same conclusion that Rebecca Frecknall and Cordelia Flynn do not get Chekhov and this adaptation is devoid of the beauty and essence of this play
Having grown up on countless Shakespeare productions I like it when directors take a play and interpret in many ways. But I’ve come to the conclusion that Chekhov is a different beast altogether and there’s a reason why naturalism is his style.
The Union Theatre production was my first introduction to the play and close up I saw Chekhov’s attention to detail from the setting to the offstage sound effects. The intimacy also meant you can sense the three sisters’ world shrinking around them
So watching this stylistic, simplistic production is like comparing night to day. There’s nothing to stop one attempting a different spin on Chekhov but this production lacks the layers in chekhovs storytelling that makes it so engaging to watch
Frecknall’s direction may have worked in a stylistic play like Summer and Smoke but Three Sisters really shows her limits
It doesn’t help that the actors, as mentioned above, seem to be performing in different productions. I enjoyed the three sisters, especially Patsy Ferran, and Vershinin. Lois Chimimba’s broad welsh accent kept taking me out of the production. I get she’s playing an outsider as Natasha but she was laying it on thick sometimes
The ladies couldn’t help noticing the lack of diction as well as the dancing you usually see at the globe theatre being used during the first act
But most of all the way the cast has been directed to play the scenes at a slow pace really drags the production out, especially in the first act. Yes the characters are bored but we need to see their hopes, fears, anguish and so on break through
You get a bit of that in the second act from the sisters, but this is a slog to get through before you get to that
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Post by David J on Apr 13, 2019 21:16:11 GMT
So i went to the evening performance but left at the interval
This isn’t a bad production. Most of the all female cast give good performances. Dona Croll gives a touching rendition of ‘this sceptres isle’, even if the audience laughed at one point making brexit comparisons
What drags this down however is the lead. Adjoa Andoh did impress me last year in Leave Taking and Troilus and Cressida but Richard II doesn’t suit her. She certainly gives a different interpretation to the role by presenting an assertive and bullyish King, but she overacts in this. Rushing her lines at times and drawing out her words, she lacks finesse and subtlety. I hoped she’d change in the death of kings speech but it was clear she was going to remain the same into the second act
She’s only matched by Indra Oves overcooked performance as Mowbray
Liked the African setting, but its held back by the Jacobean theatre. The candlelabras clashes with the set and costumes, which remain nothing more than set dressing. The only interesting thing they do is have these pictures of the cast members’ ancestors whom they refer to at times
I feel Richard II lives and dies by the performances (even Simon Russell Beale could hold together the terrible Almeida production). So after seeing an okay production of Betrayal, I left what was an okay production of Richard II with what is, frankly, the worst Richard I’ve seen so far.
I feel I’m getting too old to be coming all the way up to London to see okay productions
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Post by David J on Apr 6, 2019 13:50:05 GMT
I could have sworn the west end chandelier was faster before. When I saw it last February it just gradually came down. And Raoul didn’t grab Christina out of the way. Everyone got away before the chandelier even swung towards the stage
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Post by David J on Mar 30, 2019 17:33:33 GMT
As west end cub says this is cute and inoffensive but nothing to praise about with some unmemorable songs
Potential dramatic moments feel artificial and unearned. Whilst the family give their all I never felt a connection with them that the production was vying for
Characters and attempts at humour come out of nowhere and feel hit and miss. The unemotional lady with the forms was the highlight, but what was up with that Miss California?
Average for me
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Post by David J on Mar 30, 2019 15:03:44 GMT
I'm seeing this today so I'll be sure to report back. Are you here this afternoon?
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Post by David J on Mar 28, 2019 19:54:47 GMT
I must say I liked Billy Poselthwaite's Macbeth. He could have shown a bit more guilt, but this was a Macbeth who had no qualms killing to get what he wanted. He plays with the idea of murder in the "If it were done" speech and it's only when we see him kill Duncan (yes it is shown) that the gravity of his action suddenly hits him. And Billy throws himself into this role. Very physical in the moments of action, telling Lady M his intentions to do away with Banquo whilst threatening her with a pretend sword. And he delivers "Tomorrow and tomorrow and tomorrow" trying to keep a unaffected visage but is breaking up inside whilst holding onto the Porter. And Emma McDonald's coercion as Lady Macbeth was quite sexy. Wasn't keen on Eva Feiler's delivery of the Porter's lines though. For all intents and purposes, this is a stylistic and fun production of Shakespeare for audiences and school kids to enjoy in their local theatre. Not aiming to give you the best, just your standard scoops ice cream with added sprinkles, sauce and flake to make it more interesting, and I've no problem with that. I even liked the lighting choices in this production. Paul Hart repeats the same stuff that has worked in his previous three Shakespeare productions. He also relies on a lot of returning cast members But this has to be the least of his Shakespeare productions because it doesn't all meld together. Not only does he plonk the production in this horror-themed hotel setting with no explanation but the tone goes back and forth. One moment Billy Posthelwaite is giving a chilling rendition of the dagger speech, the next we watch the murder of Duncan with this song that undermines the build up to it. I don't know what it's called (maybe NeilVHughes can help). And the production takes a literal approach to this play which I feel is a detriment to the atmosphere. Not only do we see Duncan's murder but the dagger scene is done with these figures holding out daggers for Macbeth to follow them around, when a moment ago he was reaching out to the invisible dagger right above heads of the audience members in the front row, which was pretty effective. A mixed production for me. Some fantastic moments mixed with odd choices.
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Post by David J on Mar 26, 2019 21:03:13 GMT
Watching this production
This feels like Paul Hart has thrown everything that has worked in his previous Shakespeare productions, with added projections. The result is a mush mash of ideas that, whilst stylistic and fun to watch, never feel cohesive
One moment the play starts in a post apocaylptic battle, the next we’re in a horror movie-risqué hotel that comprises Macbeth’s castle (with three doors each numbered six) and the porter in bell boy uniform
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Post by David J on Mar 24, 2019 19:18:01 GMT
Another annoying thing about today tix is that as someone who goes on his own, I have to reduce the amount of tickets needed from two to one before I can ask for it when the booking starts. That’s 1 or 2 seconds extra needed whilst who knows how many people are after two each coming in
If only there was a setting to tell the app that I only need one ticket before booking starts. You’re at a real disadvantage when you want to see a popular show
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Post by David J on Mar 20, 2019 13:35:52 GMT
If anything this isn't your typical musical where you have a mixture of solos and ensemble numbers with a main character to follow. It's an ensemble musical telling the events of this particular moment in history without putting too much emphasis on any particular person.
But what makes it even better for me is the music and songs. During the whole musical David Hein and Irene Sankoff portrays what everyone was going through during those 5 days
It's the right combination of musical writing and a story about the human spirit prevailing during a terrible event that makes this great for me.
That being said, if I did have a criticism it would be that song Me and the Sky. Apart from when the women join in near the end it is mostly a solo number and it feels out of place in this ensemble musical. The rest of the time the limelight keeps moving round all these characters but all of a sudden the musical stops so we get this empowering number that has nothing to do with the story until the last eight lyrics
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Post by David J on Mar 16, 2019 18:59:06 GMT
I've just seen the matinee and I feel like this was the perfect time for me.
I'm recently trying to learn to be present and accept who I are. Accepting the pain body or shadow as Eckhart Tolle and Carl Jung would say. I'm rehearsing for a play trying to use the meisner acting technique and I'm coming to realise that this is what I need to do if I'm going to act like I am saying the lines for the first time.
So watching this I realised that seeing theatre isn't just to go on an emotional rollercoaster for a few hours. It's to forget whats outside, be yourself, be present for whats going on onstage and enjoy that rollercoaster.
And what a rollercoaster this musical is. I've seen self-discovery stories before but doesn't feel corny, cheesy, depressing with the event going on in the background, manipulative. Its a sincere, real and passionate musical how people can discover themselves in the midst of an terrible and incomprehensible event. By the end it felt like everyone shared these people's stories as we gave standing ovations and I left buzzing all over. I don't want what I feel to end.
I'm considering putting this amongst my favourite musicals of all time. I want to see it again if that's any indication.
Believe the hype and praise, go and see it!
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Post by David J on Mar 9, 2019 19:09:22 GMT
Just saw this in Bristol
Hands down the best production of Richard III ive seen so far. Not revolutionary but a creative and pacy production of what is, to me, a clunky play.
Jonathan Slinger remains my favourite Richard but Tom Mothersdale is not far behind. He relishes every word he speaks, gives a very physical performance staying bent forward and twisted most of the time, and his face is animated with every villainous thought. He keeps the audience enthralled. Truly surpassed my expectations
In fact most of the cast gave top notch performances. The wooing scenes were spicy, helped by the reactions from the enthralled secondary students. There’s no Margaret but Eileen Nicholas makes up with her steely curses as the Duchess of York. Stefan Adegbola is a silent presence at first as Buckingham with a calm sly voice
It’s a small cast so there are doubling. Only once did I get confused by the guy playing Edward IV and Stanley near the start. Still it was nice to see emphasis on Stanley trying not to get in Richards bad list.
Headlong is never short of bringing flourishes to this play. They give some of the death scenes their own little twists. There’s a moment in the Hastings scene that was unexpected and shocking. There’s plenty of ghostly presence with the inclusion of Henry VI. They even took advantage of the doubling where Richard mistakes someone for one of his victims
Great production. Thoroughly recommend it
PS I notice there’s a duplicate thread that needs merging
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Post by David J on Feb 25, 2019 19:21:42 GMT
The rumours are true; As part of the Playhouse's 2019 Autumn season. Stephen Sondheim and John Weidman's Tony Award-winning musical Assassins will be revived with a new production directed by Bill Buckhurst (who oversaw the recent revival of Sweet Charity at the venue). Co-produced with the Watermill Theatre, the piece runs from 30 October to 16 November, with casting and full creative team to be announced.
On sale 15 March. Co-production with Watermill Theatre, I wonder if it is going to actor mysican? Is that a clue to the watermills summer musical?
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Post by David J on Feb 23, 2019 20:43:44 GMT
I’m guessing this isn’t happening anymore Had a chat with box office staff. An announcement has been pushed back and back but it should be happening
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Post by David J on Feb 23, 2019 20:43:16 GMT
For anyone holding out for cheaper tickets. If you're under 30, a key worker or on JSA, a tweet just went out confirming that £15 tickets will start going on sale in Feb: I’m guessing this isn’t happening anymore Had a chat with box office staff. Any announcements has been pushed back and back but it should be happening
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Post by David J on Feb 23, 2019 19:29:31 GMT
As mentioned the first half is slow a set up. Same problem as the RSC version but with less laughs
But it did pick up in the second act and the ending was a neat master stroke with a warning that London audiences should take to heart in my opinion
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Post by David J on Feb 23, 2019 15:42:13 GMT
Been meaning to say, one thing that is missing from the tour which I think is a misstep is that they don’t tell you the locations and dates, so unless you know how much time has passed or can work it out it could be confusing. Valjean ages very well though. The bit after the prologue and Valjean’s soliloquy where that familiar musical theme kicks in, the orchestra hits a crescendo and ‘Les Miserables’ is projected across the back of the stage is a massive shiver down spine moment. Very emotional. That was my biggest issue with the last tour and I can't believe they haven't fixed it. it really affects the story telling and I can't think what logic made them think it was a good thing to take out Yeah, took my grandma to the last tour and she was absolutely confused the whole way through
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Post by David J on Feb 23, 2019 13:11:32 GMT
Finally caved and watched this. It's a good film but I was left with an overwhelming feeling of meh. I mean it's all impeccably crafted but I can't see that in six months I will be able to recall much about it. Except that fabulous scene near the start with all the female characters discussing the situation one of them was in. That was a firecracker and that's the film I wanted to see. I liked the film but wasn’t overwhelmed by it Wasnt sold on the jumps back and forth in time. It is a story device I’m not terribly keen on anyway. Thematically they worked but I wished that the film stayed on that firecracker scene for instance
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Post by David J on Feb 14, 2019 13:57:50 GMT
Since Chichester is only a drive away for me, I'll book for some of these. Especially the Minerva ones since there's less tickets that go sooner.
I'll get £10 ones for Macbeth and Oklahoma but wait on Shadowlands (liked the tour but not in hurry to see it again) and will wait for reviews on Plenty.
Otherwise, yeah it's pretty underwhelming. 8 Hotels and Hedda Tesman are the most interesting. Like me some Hadley Fraser in Deep Blue Sea. Not keen on Dervla Kirwan as Lady Macbeth. She delivered the lines very deliberately and carefully as Goneril in the McKellan King Lear, as if she wasn't comfortable with the language
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Post by David J on Feb 8, 2019 12:14:08 GMT
1. Three Billboards Outside of Ebbing, Missouri 2. Mission Impossible: Fallout 3. Avengers Infinity War 4. Lady Bird 5. I, Tonya
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Post by David J on Feb 6, 2019 23:11:11 GMT
Oh and I had to suppress a laugh as Scott Davies’ “go now...leave...leave...llleeaavve me”
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Post by David J on Feb 6, 2019 23:06:50 GMT
Was sat amongst a lot of Japanese tourists at phantom. Apart from some being reminded by the ushers to switch of phones (probably some of the most professional ushers in the West end(
There were however right in front of me three girls who would chat at times during the first half. Worst of all the one in the middle would tilt her head back and forth to whisper to her companions on both sides, which got distracting
They didn’t even come back for the second half. Why even bother paying money to turn up to a show you’re not going to sit quietly and watch
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Post by David J on Feb 6, 2019 22:56:44 GMT
Okay I have to admit Jeremy’s acting was sub par. When he had to become the man of action he was unconvincing
Kelly Matthiesen was certainly quiet at time during the first act but she was much better in the second act
Quite honestly I can’t judge how good this cast is good to other casts (outside of the phantom) despite having seen this for the fourth time. I I think the musical is grand with beautiful music but never felt emotional investment to the story or characters (he’s s psychopath of course she’s going for Raoul!).
I only went to see David Thaxton and Scott Davies could not lighten what was an underwhelming evening
Can’t help but hear the bangs going on as set pieces were moved about. I noticed Christine and the cast got well clear of the falling chandelier. Does Rhaoul no longer grab her out of the way anymore?
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Post by David J on Feb 6, 2019 21:01:29 GMT
Seeing this tonight. Sadly Thaxton, whom I booked to see, was off. Here’s hoping he comes back
Can only agree Scott Davies is adequate at best. He sounds like a performer who’s played his role for too long. He shows moments of creepiness and anguish at times but his singing goes all over the place
Very impressed by Jeremy Jordan. Such a strong voice and he and Kelly Mathieson were touching in All I ask of you
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Post by David J on Feb 6, 2019 18:35:40 GMT
What is the go to cast recording atm? Surely Michael Ball holds the record for singing on the most Les Miz recordings? Philip Quast shares that doesn't he? Symphonic, 10th Anniversary and the 1992 UK Tour Manchester (okay 5 tracks but still) recordings
Oh and Colm Wilkinson is in the both original London and broadway cast recordings and the 10th Anniversary
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Post by David J on Feb 6, 2019 18:21:49 GMT
Speaking of changes there was a recent one that bugged me (the last 2 times I saw the show back in 2017) where Enjorlas' body no longer lies along the bit of stairway and the flag on the barricades, but instead is dangling by his leg over the side of that stairway. As if his foot got stuck in the stairs as he fell, which to me the probability of that happening was small.
Is that still in there
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