1,046 posts
|
Post by David J on Sept 12, 2018 11:12:03 GMT
Wow! What graphics are they using in that trailer? Playstation 2?
|
|
1,046 posts
|
RSC 2019
Sept 10, 2018 14:09:24 GMT
via mobile
Post by David J on Sept 10, 2018 14:09:24 GMT
One wonders, or rather one doesn’t, about why they think we should be interested in a contemporary play from South Africa rather than, say, Germany or France. And I wonder whether this play is going to reflect what is going on over there at the moment that a lot of people would rather ignore
|
|
1,046 posts
|
The Price
Aug 25, 2018 11:34:11 GMT
via mobile
Post by David J on Aug 25, 2018 11:34:11 GMT
Going this afternoon if anybody happens to be there
|
|
1,046 posts
|
Post by David J on Aug 18, 2018 16:44:17 GMT
Im sorry but despite the efforts of the cast and production itself I dislike this musical
In this metoo day and age I can certainly imagine some people want to put this on. But story wise this is just flounders around until it finally finds a plot in the second act that lacks tension. And that bleeding ending comes out of nowhere as the tone takes a complete 180 degree turn. Even the two coach loads of oaps couldn’t believe what was going on
|
|
1,046 posts
|
RSC 2019
Aug 6, 2018 10:35:47 GMT
via mobile
Post by David J on Aug 6, 2018 10:35:47 GMT
Simon Godwin Jonathan Munby Ivo Van Hove Robert Icke
And return Michael Boyd, Rupert Goold and David Farr from the old days
|
|
1,046 posts
|
Post by David J on Jul 20, 2018 6:28:23 GMT
Me and some friends have just seen an outdoor production of it by my local dramatics society (the RSC version was their first choice but the rights aren’t available).
Now I’ve got to persuade my friends that this is WAY better
|
|
1,046 posts
|
Post by David J on Jul 19, 2018 23:14:51 GMT
Out of interest does anyone remember seeing Keith Dewhursts adaptation at the NT? Was it good?
|
|
1,046 posts
|
Post by David J on Jul 16, 2018 17:31:15 GMT
I don’t want to get too deep into this here and maybe this discussion should be put into a general thread
I have seen plenty of productions where characters played by actors of different genders and races. Some where simply great in the role, some brought an eye opening interpretation, or else they didn’t force a message down my throat
Last year I saw the best Malvolio and Kent from King Lear I’ve seen so far. They were Tasmin Greig and Sinead Cusack because they brought a poignant dimension to those characters that I hadn’t seen a male actor do yet
And at the end of the day these gender/race bending interpretations are one of hundreds that have been and yet to be made. This Richard Ii will come and go and we’ll have a production where it’s business as usual
But I am growing cynical about these identity politics that’s showing up in all areas of culture and media (inevitably really). And I am worrying that the globe is ticking that equality box as an empty gesture of virtue signalling. I didn’t mind Emma rice doing good some gender bending but You’d think the globe would want to keep that to a minimum after she left
|
|
1,046 posts
|
Post by David J on Jul 14, 2018 23:22:54 GMT
I don’t know, I would love to see Mary Poppins again (after seeing the tour three times) but Im ready to see someone else in the role.
Zizi gave a fantastic performance every time but the way she sang the high notes didn’t sit right with me. Not sure if I call it nasally or something but hearing her sing ‘pERfect’ sounded off to me
Don’t mind seeing her again but Ill try and catch her understudy
|
|
1,046 posts
|
Post by David J on Jul 14, 2018 19:57:37 GMT
Damn, if this production doesn’t reach the depths of darkness it can go I hate to think how far you can push that last scene
This is the first time seeing this and I certainly enjoyed it immensely but I can see it leans heavily on the comedy in comparison to what I have seen by mcdough
But that last scene has quite a lot of kickers. I’m sure there were a lot of Poldark fans seeing a mcdough play for the first time leaving quite perturbed
I loved how one guy at the back of stalls shouted “NO WAY” at a big moment
|
|
1,046 posts
|
Post by David J on Jun 23, 2018 18:08:01 GMT
So I saw the matinee today against my better judgement. And I thought this was average, but not the disaster it has been described as Better than the RSC’s version (but not by too much) If I could make one defence for Rufus Norris it would be that his post apocalyptic vision was very consistent. I’d take a consistent production over one that has a bunch of ideas thrown together (ala Poly Findlay) That said Rufus Norris’ vision made no sense and whilst there were moments that were neat (I liked watching Macbeth walk to the sleeping Duncan) there were moments that looked cringey (the cardboard box and Macbeth’s armour) or felt flat (Lady Macduff’s scene). There’s certainly an art to putting together a scene that makes an impact and Rufus Norris barely rises to the challenge The acting was good, and there were signs of a good production if there was better direction Otherwise it was just an average show I was there too! Agree with you. Did i doze off or was the role of the Porter cut? Poor AM Duff, three flops in a row. Hope 2019 brings better luck. He wasn’t cut. In fact he was given a few more things to do. Trevor Fox was off and I believe the guy who usually played the doctor took on the role. Good performance I could have sworn Malcolm’s goading of MacDuff was cut down
|
|
1,046 posts
|
Post by David J on Jun 23, 2018 16:16:31 GMT
So I saw the matinee today against my better judgement.
And I thought this was average, but not the disaster it has been described as
Better than the RSC’s version (but not by too much)
If I could make one defence for Rufus Norris it would be that his post apocalyptic vision was very consistent. I’d take a consistent production over one that has a bunch of ideas thrown together (ala Poly Findlay)
That said Rufus Norris’ vision made no sense and whilst there were moments that were neat (I liked watching Macbeth walk to the sleeping Duncan) there were moments that looked cringey (the cardboard box and Macbeth’s armour) or felt flat (Lady Macduff’s scene). There’s certainly an art to putting together a scene that makes an impact and Rufus Norris barely rises to the challenge
The acting was good, and there were signs of a good production if there was better direction
Otherwise it was just an average show
|
|
1,046 posts
|
Post by David J on Jun 20, 2018 13:05:58 GMT
If you’re not even going to attempt to address one problematic element then why even bother doing this play
Pretty cowardly really. You could have ended your tenure with a defining interpretation of this play, Josie, and what you’ve teased so far sounds like your tiptoeing around the plays issues
|
|
1,046 posts
|
Post by David J on Jun 9, 2018 13:43:58 GMT
Am seeing the show this afternoon, am rather looking forward to it! Me too. Where are you sitting? I’m the one in bright red trousers in e22
|
|
1,046 posts
|
Post by David J on Jun 8, 2018 19:56:42 GMT
Looks like the globe isn’t the only theatre casting a deaf actor. It’s certainly interesting watching Sophie Stone perform as Hermia and Tyrone works well with her as Lysander doing the sign language as well as speak
If you’ve seen a Paul Hart Shakespeare production at the Watermill then this is pretty similar. Nothing groundbrreaking but fun with plenty of style and music
|
|
1,046 posts
|
Post by David J on Jun 8, 2018 19:48:44 GMT
Just noticed that Jasper Britton will be playing Rooster
Sad that I missed mark Rylance in the role but I have every confidence Jasper will give a sterling performance at least
|
|
1,046 posts
|
Post by David J on Jun 7, 2018 18:25:24 GMT
Just the theatre website
|
|
1,046 posts
|
Post by David J on Jun 7, 2018 11:11:51 GMT
Looks like the musical is touring after the Arts Theatre run. It's coming to the Nuffield Theatre, Southampton in November
|
|
1,046 posts
|
Post by David J on May 19, 2018 21:55:34 GMT
I am so glad I saw this again. I remember seeing this production a few years ago and found it surprisingly thought provoking
How can you connect Peter Pan to the First World War. I read in the programme how the Llewelyn Davies boys, who were J.M. Barrie’s inspiration for the Wendy children, experienced the horrors of the war. That heroic idealism that they and many men grew up with andis imbued in Peter Pan shattered
So watching Wendy and the Darling boys, now a nurse and wounded soldiers in a field hospital, escape to neverland would seem a much needed escape from reality. The show is full of fun with brilliant use of flying on a pulley system, puppetry and physical action
But there is this underlying dour and cynical tone. The ruined hospital remains and soldiers crawl out of the floorboards and trenches around the stage
The boundary between Neverland and no mans land seems blurred. By the end you begin to wonder whether there’s any difference between the war and the endless conflict between Pan and Hook (dressed like a general). Is the lady that pops up to sing Mrs Darling or a mother praying for her son to return home from Flanders?
I may be looking too much into this and this is still fun production for kids. But there is a maturity to this production that I would heartily recommend
|
|
1,046 posts
|
Post by David J on Apr 11, 2018 21:34:32 GMT
Watching at the cinema in Stratford upon Avon.
I’ve long come to the conclusion that when given the chance Polly Findlay is full of ideas but struggles to execute them cohesively
The pre show interview implies how heavily she and the designer took cues from horror films. But this show doesn’t begin to feel tense or scary and is merely full of visual cues to the genre
We complain about the child witches here, but some of us can still remember the children in Michael Boyd’s production. It worked there because there was atmosphere and build up as those children were lowered from above with the nooses round their necks.
All Polly Findlay has to show is that she has watched the shining without beginning to make those kids creepy. And the pacing is at odds too. Macbeth’s first encounter with the witches comes so quickly (the moment the scene starts) that there’s no build up
The horror feels superficial. The few onstage deaths are taken off stage or done in a brief blackout (seriously?). I like the idea of the hundreds of murders committed under Macbeth’s rule implied by the porter but how about we see some of that, like Banquos murders or that random servant being silenced for his knowledge on Macduff
Eccleston delivers the lines without fully grasping the meaning. So easy Cusack faired better trying to humanise Lady Macbeth
What the hell happened to you Edward Bennett. Surely you haven’t been eating extra pork pies for this production. And his scene with Malcolm was overshadowed by the sound you get when a microphone is pressed against a cardigan!
Generally good acting from the supporting cast and good visuals. But this is a macbeth thats not going to linger in my mind
|
|
1,046 posts
|
Post by David J on Feb 24, 2018 16:46:09 GMT
What is it with David Walliams. Suddenly all his books are being adapted for the stage The Nuffield and Chichester alone are doing The Billionaire Boy and The Midnight Gang later this year Is he the new Roald Dahl or something? Certainly looks like that given Quentin Blake does the illustrations
|
|
1,046 posts
|
Post by David J on Feb 24, 2018 16:44:28 GMT
What is it with David Walliams. Suddenly all his books are being adapted for the stage
The Nuffield and Chichester alone are doing The Billionaire Boy and The Midnight Gang later this year
Is he the new Roald Dahl or something?
|
|
1,046 posts
|
Post by David J on Feb 22, 2018 17:06:29 GMT
|
|
1,046 posts
|
Post by David J on Feb 13, 2018 18:15:15 GMT
Sorry for boring ticket question....I know £20 day seats are 2 person, does anyone know if the £25 best available that they have been known to do during the day are also 2 per person? Thanks! Are these £25 tickets appearing on the Nimax website?
|
|
1,046 posts
|
Post by David J on Jan 24, 2018 23:40:02 GMT
What I loved most about Gregory Doran was that in his pre-AD productions you could tell that he worked with the cast to engage with the texts and bring nearly every word to life. Nearly every actor spoke the words not just clearly but with meaning that I could fully understand and engage with
I don’t know what people felt about his Loves Labours Lost, but that was the first time I saw the play and I was quite nervous going in. I had heard that it was Shakespeare’s wordiest play and that it is difficult to understand. But Dorans Lost was one of the funniest productions I’ve ever seen.
His Midsummer Nights Dream (2008 revival) is the most magical and beautiful version of the play I’ve ever seen. Also one of the funniest (I still can’t forget Joe Dixon’s Bottom, with a full on ass’s head, performing “The ousel cock so black of hue” song like a disc jokey 😂)
I just feel he used to set out with a vision to fully realise the plays in creative ways. He isn’t as daring as Rupert Goold and Ivo Van Hove but he also endeavours to fit his vision with the text. Julius Caesar felt like Shakespeare himself had set the play in Africa. Of course the play has themes that reasonates with us today, but Doran’s production felt seamless and real
So he has done productions that were fun, creative, engaging and more important for a Shakespeare production, understandable. I would even say Richard 2 to Henry 5 has some of that. But his productions lately have become progressively literal in delivery and uninspired. King Lear is one of the dullest versions I have ever seen. It had even seeped into the Roman season when he had some very creative directors overlooking those
I may dislike the way he is running the RSC but I feel he is, or once, a director who trusts Shakespeares texts the most to find the goods to deliver
|
|