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Post by David J on Sept 13, 2017 11:46:08 GMT
I think a great Shakespeare production starts with the director and the cast understanding the text and conveying that to the audience.
The language barrier is after all what can turn anybody off. Before he took over Gregory Doran was actually my favourite Shakespeare director because his casts clearly what they were talking about delivering the text.
But as you say trying to make Shakespeare as accessible as possible has become the priority of the main house productions to a detriment. The Roman productions this year seemed to consist of actors delivering the lines as clearly as possible with no real feeling. It was telling when to me Andrew Woodall was one of the few who actually gave a damn playing Julius Caesar and Enobarbus.
And Andrew Jackson had been given directorship of this season and I have seen way better productions from him. Iqbal Khan as well. Okay, Gregory Doran needs some oversight but give your directors some leeway at the reins
I may sound like I prefer a different RSC era, but you also need a Shakespeare production that is creative as well as clear. You can say the same for any production really, and there's always a place for recreating Ancient Rome on stage but this is a leading Shakespeare company we're talking about here that should be encouraging new and exciting interpretations of Shakespeare, like the Almeida's Hamlet.
After 10 years going to Stratford, I am sticking to seeing the main house productions at the cinema (except perhaps the winter show). If you want creativity, see the shows in the Swan Theatre.
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Post by David J on Sept 13, 2017 11:13:11 GMT
Again I defend Maria Aberg's As You Like It as one of the most joyous productions I've seen in the past few years. Funny that it was on just before Gregory Doran took over. Feels like it marked the end of an era at the RSC.
But yeah, otherwise it feels like Maria Aberg got lucky with that production and has never lived up it since.
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Post by David J on Sept 12, 2017 11:29:54 GMT
Just seen the news of Peter Hall's death and this announcement
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Post by David J on Sept 8, 2017 6:32:48 GMT
Any more reports on the seating?
I've got D66 round the side
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Post by David J on Aug 26, 2017 18:31:00 GMT
Finally seeing this
Tyrone Huntley is off tonight, with Joshua Dever undertudying
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Post by David J on Aug 12, 2017 15:02:53 GMT
This is the Laura Eason play that is going on tour this autumn. Coincidentally I performed in an outdoor amateur production of this play last month, so it was nice to see this from the comfort of my chair
The acoustics of Cadogan Hall slightly hinders this production but there's plenty of business to keep the audience entertained. A fantastic show to see
The highlight was the opium scene where passpatout, high out of mind trying to drag himself off the stage, with the help of the kids in the front row
There was however this couple in my row who left in the interval because they were shocked that drugs were included in a children's show. The worst show they've seen this year
I'm not making this up
Apparently the scent of yesterday's vodka was on the mans breath
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Post by David J on Aug 3, 2017 17:39:46 GMT
Is Shaq on as Javert on Mondays? Isn't that the same night as Adam Bayjou as Valjean?
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Post by David J on Aug 3, 2017 17:22:26 GMT
It must surely have been a hard part for Samantha Spiro to learn as she had so much to say but lots of it was broken phrases or involved lots of changes of subject. She did say at the post-talk that it is the hardest part for her to learn the lines
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Post by David J on Aug 2, 2017 20:16:05 GMT
Well I've got to say i admire sondheims attention to character here. The first act is one big build up to the the main event "A weekend in the country" and what a marvellous song it is
Every character is gradually introduced and performed with exuberance by the cast. Everyone stands out here
There is one glaring issue for me. Anyone who is new to the musical should read up the the first 15 minutes or so because I couldn't tell a thing that was going on
I could tell there's this long melodic song before we get down to the story. But with everyone whirling around with their instruments I could not tell what was going on
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Post by David J on Aug 1, 2017 6:41:12 GMT
Finally, something really good to come out of this year's Chichester season. Went to see this and the post-show talk with the cast and Jeremy Herrin
Deborah Bruce's new play about these two socially isolated siblings, Peppy and Daniel, living in a house full to the brim of the things they hoard. They feel safe from the outside world until this boy from next door starts visiting, and when he decides to come round in the middle of the night and sit with Daniel things take a turn for the worst
The best thing about this play is the psychology between this these two recluses. Deborah Bruce was inspired by two similar people she saw in a cafe and she related how she likes to observe how people talk and interact. Which is no surprise given how well written the dialogue is in this. The play is a slow burner, especially for the first half, but you are absorbed watching these people.
All the critics have picked up on how these two characters have learning disabilities. The funny thing is that is what Samantha Spiro and Daniel Ryan brought to the characters. Deborah Bruce only focused on the secluded aspect, whilst the two actors brought a whole different level to the characters.
As someone on the spectrum, I could really sympathize with Daniel Ryan as the autistic brother and how his interactions with the child could easily get misinterpreted. It's a play about how people can misunderstand those with a learning difficulty, and during the first act the tension slowly ratchet up as red flag after red flag popped up
And as horrible as it may be, when the police get involved you can relate to their point of view. Deborah Bruce herself said how they did the right thing with what they had to go with
Samantha Spiro gives a masterclass performance here. Endlessly talking, twitchy, scuttling around the place, trying to look after her brother. She brings moments of absolute tragedy as she calls for her cat she can't find, talking about their uncle who won't call them, and how she could have stayed at Cambridge University instead of looking after Daniel. She gives a heart-rendering performance during the second act.
After that the play does end on a hopeful note. It was what Deborah Bruce intended from the get go and after mulling it over I agree with it. My only problem with that is that it is another 10 minutes on what is already a long play that comes right after such an emotionally exhausting scene.
Also the play has to transition to the childs home which makes for a clunky scene change on what is already a cluttered set in the Minerva. The mother who appears for a few scenes felt a bit two dimensional for my liking.
But on the whole this is one of my favourite plays of the year and it is such a shame that this is on till the end of the week. Go and see this if you can
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Post by David J on Jul 27, 2017 11:29:01 GMT
Warning!
I managed to get cheap tickets for all three shows, but when I logged in they had disappeared.
Best to login before selecting tickets
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Post by David J on Jul 15, 2017 23:18:18 GMT
Whilst I'm stuck on a crowded train full of people coming back from Wimbledon and the commonwealth games I thought I'd give my thoughts
I went just to see Secombs last performance and what can I say. Phenomenal! He gave it his all playing the obsessiveness of the character.
I burst into tears as his soliloquy got underaway. He really shows the tragedy of the character as his obsession, anger and morals overcame him. I kept thinking, "why did he have to go after Valjean? Why couldn't he go some after some after irredeemable escaped convict? He doesn't deserve this!" He went out with a bang
I liked killian. I warmed to his acting choices. I always think he has this blank look on his face whenever I see him in something. Something about his eyes. So I'm watching his convict valjean thinking that he is a broken man with a resigned look on his face, until his soliloquy when something breaks and he vents his anger. But by the time he becomes old valjean he is unwavering in the tasks he sets out to do. He faces his death with resolution
I prefer Adam Bayjou and Simon Gleeson but I'd like to see him later when he has matured. I'd even like to see Adam Bayjou if only I know who would be playing Javert on the same night.
Overall I enjoyed the freshness that comes this new cast. I saw some new and interesting acting choices here and there.
It was particularly a breath of fresh air to have a thenardier that puts characterisation first before comedy. Steven Meo still has occasional moments of clowning around and off script comments, but most of the humour came from his dry facial expressions and interactions with Jacqueline Tate as Madame thernardier.
Liked Paul Wilkins and Charlotte Kennedy as Marius and cossete. Would like to see more charisma from Hyoie as Enjorlas (and I hope he combs his hair back because half his face tended to get obscured)
Alice Ellen Wright was on as Fantine. She was fine
I didn't mind Karis Jacks childlike Eponine initially and I like how she expressed her inwardness instead of showing her love to Marius. But yeah she couldn't keep still and was trying too hard to show Eponine a pain. By the climax of on my own she looked like she was trying to grow her neck that into the audience the way she put her head forwards. She also has a tendency to double over with her hands between her legs like she was desperate for the toilet. Maybe that's why she couldn't keep still
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Post by David J on Jul 15, 2017 17:48:52 GMT
Really good this
A simple one man musical with heart. About a divorced father fighting to be able to see his daughter
It's the usual proving yourself a superhero in the less literal sense story, but it has sincerity thanks to Michael Rouse portraying the fathers trials with some touching music
It's running for one more week. Don't miss this
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Post by David J on Jul 1, 2017 22:03:34 GMT
I have harped on about it on the forum but I concur Elanor. Apart from Cymbeline and Merchant most of the main theatre productions under Gregory Doran go for detailed sets and historical accuracy. Things were more creative back in the Michael Boyd days, and even Gregory Doran was more adventurous than he is nowadays.
Simon Godwin's Hamlet last year is the only real gem I've seen there in recent years. Before that Maria Aberg's 2013 As You Like It (one of the last productions under Michael Boyd) holds a special place in my heart
The Swan Theatre is really the only place to go nowadays. Loved Don Quixote, The Rover, Snow in Midsummer. Vice Versa is on right now and whilst it isn't great I'd sooner see that over Antony and Cleopatra. The cast and people involved love what they do and it shows, whilst the Roman lot in the main theatre reverently deliver the plays in the clearest way possible, but with no real passion. And this is (supposedly) being overlooked by the same director of Don Quixote
For nearly nine years I've been to see most of the RSC shows. Now I am considering only going up for the Swan lot and catch up with the main theatre shows at the cinema.
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Post by David J on Jul 1, 2017 21:22:18 GMT
I watched the Deborah Warner production in the archives recently, and have to say I really admired its simplicity, production value wise.
There was just a wooden stage and barely any sound effects or music used. It was deathly silent as this figure crawled on from the back and came forward to reveal itself as the mutilated Lavinia.
The Lucy Bailey production was similarly simple with the stage covered in black. I don't know about the Ninagawa production (would like to watch that another time), but the images of red ribbons against the white set is quite striking.
I feel that the horror of the violence can speak for itself, with no need for elaborate production values like the last Swan production.
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Post by David J on Jun 30, 2017 12:42:18 GMT
I saw it last Saturday and wow did this go above and beyond my expectations.
As someone who has a basic knowledge about transvestism and lesbianism it was absorbing watching this couple, Alice and Fiona, who after so many years together are still coming to terms with who they are.
Alice has plucking up the courage to finally tell her parents that she is a lesbianism, but just when she is about to send an email Fiona comes out to say that she thinks she's a man in a woman's body. From there a boiling pot of problems and bottled up emotions gradually pours out by this bombshell that brings strain to their relationship.
And this is a beautifully written play by Jon Brittain. The characters are three dimensional, convincing, funny, relatable, but flawed, with their own mess of problems that are brought out by this revelation.
Particularly Fiona played by Anna Martine Freeman. You sympathise with her coming to terms with her gender, but at the same time she is self centered who can't see the turmoil Alice is going through. There comes a moment of revelation for her in the second act that couldn't have come at a worse time. I sat there thinking, "I am happy for you, but sh*t is just about to hit the fan and you've brought this upon yourself"
And that scene by the way is where all the tension that has been building up breaks out and its a emotionally charged moment thanks to Anna and more importantly Alice McCarthy as Alice. She may be open about her relationship with her friends, but she is still conflicted about her sexuality that she struggles to express. So when the woman she fell in love with suddenly comes out to say that she's a man you watch the turmoil expressed silently by Alice McCarthy. Its when she breaks away to hang out with an fearlessly open lesbian Lehani, played with such exuberance by Ellie Morris, that she learns to open up and the end of the first act is such a joyous moment.
There's also great acting from Ed Eales White as Fiona's brother and Alice's ex-boyfriend, who could have moved on but still looks out for the two and tries to get used to the idea of his sister becoming a man.
Poignantly written, well acted, with a wonderful blend of comedy and pathos. I don't agree with some of the criticism that this ponders in the sitcom territory for too long. What moments of comedy felt deserved to break up the tension.
And then there were moments that had me beaming for the two leads, for all their faults, as they came to terms with themselves. It's a love story where this couple has to knuckle down and confront their problems in order to be together
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Post by David J on May 20, 2017 15:13:49 GMT
Liking this but not ecstatic so far
It's a slow burner the first half. Mainly about the boy giving away Caroline his money. Not sure where this is going
The fantasy moments are charming if sporadic to the point that they come out of nowhere
I'm sure the intention is to drip feed the era of the post JFK America but I would have liked that established earlier
Don't know who the Noah is (short hair in comparison to the long haired one in rehearsal photos) , but he sounded fine if a bit off at times
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Post by David J on May 17, 2017 10:13:22 GMT
I've seen it
It's about 2 hours of Edward Fox as Bentjamen Brittain sitting around remiscing. Some witty anecdotes and recitals of his poetry but nothing more
I have no idea why it even have a short run in the west end
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Post by David J on May 13, 2017 19:58:50 GMT
Enjoying this so far
The music is certainly reminding me of the clockmakers daughter
Problem I'm having is that the musical wants to draw parallels with the Russian love story that the protagonist is writing and yet we don't see enough of it. Just snatches of it. The story about the woman and her brother is heartfelt. I wish I saw more about her grief
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Post by David J on May 13, 2017 18:30:24 GMT
Saw the matinee. Bloody good this
Greg Hicks is now on of my favourite Richard III's behind Jonathan Slinger. Never been a fan of his harsh delivery of lines (only worked for me in the winters tale) but it really suits the role. He's like a hell Hound trying to break free of the chain that is keeping his limp arm and knee together. He has fun with the sardonic humour and has a piercing look from his gaunt eyes
Great acting all round including Paul Kemps resigned Clarence, Peter Guinness's silky Buckingham, Jamie de Courceys fiery Richmond and Matthew Sim almost stealing the limelight as Catesby
It does take its time. Running at nearly 3 hours. But in the Arcola it's a very atmospheric, as Richards usurpation tskes hold
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Post by David J on May 9, 2017 20:08:15 GMT
Enjoying this immensely
Rodney Acklands adaptation of Somerset Maughams story has the makings of a Noel Coward play. Country house setting with rich people acting foolishly
The comedy doesn't reach the heights of Coward. It's mockery of the rich is a bit ham fisted but still enjoyable
It's only by the end of the first act that things get deathly serious
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Post by David J on Apr 29, 2017 11:27:06 GMT
When do tickets for young people get released
I signed up to receive emails but haven't heard anything
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Post by David J on Apr 28, 2017 11:22:38 GMT
So disappointed that Hayden Tee is returning, was so disappointed with his performance I just try and catch it with Jeremy Secomb before he leaves. Me too. Never thought I'd go and see Les Mis two months in a row. Love Secomb's Javert and I thought Simon Gleeson was a great Valjean (better than Peter Lockyer anyway) so seeing the two before they leave would be fantastic. I'd really like to see Killian Donnelly's Valjean. How can I find out Hayden Tee's holiday dates later on in the year.
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Post by David J on Apr 28, 2017 9:51:09 GMT
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Post by David J on Apr 24, 2017 11:50:20 GMT
Thought I'd practice the Klaxon booking today. I'm planning to get two tickets either next week or the one afterwards.
Joined at 11.45 and started off at 150. By the time I got through what stall seats were available had already gone and remaining circle seats were nearing the extreme far side seats (I suppose those will be all right since this is in-the-round
Also noticed there are extra circle seats at the back of the stage. What are those bellboard27?
Does the pre-queue Klaxon webpage appear at 11.45 or earlier?
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