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Post by lynette on Jan 10, 2024 18:00:29 GMT
As someone who lives outside London, I must say that it hacks me off that the tube strikes keep on getting called off at the last minute while all the train strikes in the last 18 months have gone ahead. Why are the unions prepared to cancel their tube strikes but never their train ones? It feels like London's transport is considered more important than that for the rest of the country. The Mayor wants the strikes to be called off so negotiates. The Government wants strikes on the railways because (a) they don't tend to travel by train anyway so it doesn't really affect them and (b) they want people to be inconvenienced so that they can point to the Labour Party and say in the election campaign that this party is a friend of the unions and so in some way responsible for the strikes. The difference is approach isn't down to the unions; it's down to the bodies negotiating with them and their motivations. Honestly I wish your theory was true as it would make me think there were was some intelligence, albeit malignant , in the Gov.
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Post by lynette on Jan 5, 2024 13:58:13 GMT
Just booked for this with the credit I got from my White Christmas ticket (unable to attend due to lurgy). Looks like it’s selling quite well so far. Looking forward to Sheffield’s take on my favourite play. A great play. Rarely messed up so hope this one is good too. Fab parts for actors.
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Post by lynette on Jan 3, 2024 15:21:28 GMT
What about BMS awards or some other B..M for services to …then whatever it is. So all the same award and only one level. No Empire, no Os, Cs or Ms. Then Knighthood and Damehood for the very good ‘uns, in any sphere but generally longevity counting? The awards that are in the personal gift of the Monarch might have to stay I suppose. But the gradation of who gets a C and who gets an O is ridiculous. And of course, abolish awards all together for government civil servants. Nada….
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Post by lynette on Jan 3, 2024 15:15:41 GMT
Nice list. I think that best actor will go to Mark Gatiss. And best director, R Goold. Just my thoughts. The Olivier often doesn’t award the actual best……
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Post by lynette on Dec 31, 2023 14:25:15 GMT
Thanks all for the advice. I’m reassured. So hope for the best
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Post by lynette on Dec 31, 2023 14:24:52 GMT
When it’s a march day i tend to arrive in town via Tottenham Court road area. It’s busy but fine. Thanks for this. I’m also using northern line to Tottenham Court Road. Hoping for the best.
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Post by lynette on Dec 29, 2023 22:43:22 GMT
Advice please. Has anyone encountered problems going to the theatre in London on a Saturdays afternoon when there is a march going on? I’m thinking of the tube system and the closing of places… thoughts and advice welcome.
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Post by lynette on Dec 29, 2023 22:40:31 GMT
I started my regular theatre-going 61 years ago, and until 2016, very seldom left a show at the interval - but since then: In 2016 I saw 68 shows, and left at the interval of one: DOCTOR FAUSTUS/Duke of York's (look-at-me-I'm-the-director) In 2017 I saw 66 shows, and left at the interval of three: QUEEN ANNE/RSC at Haymarket (dull dull dull) YOUNG MARX/Bridge (dismally unfunny) LORD DISMISS US/Above The Stag (v.poor script) In 2018 I saw 63 shows, and left at the interval of three: THE DIVIDE/Old Vic (a script which should never have reached the stage) NIGHTFALL/Bridge Theatre (undeveloped text) ABSOLUTE HELL/Lyttelton (disastrously misdirected) In 2019 I saw 59 shows, and left at the interval of one: AS YOU LIKE IT/RSC at Barbican (worthy but dull) In 2020 I saw 17 shows right through. In 2021 I saw 22 shows, and left at the interval of three: THE GAME OF LOVE AND CHANCE/Arcola Outside (sophisticated French comedy played as coarse farce) CAROUSEL/Regent's Park (misguided "update" of this excellent musical, with ghastly new orchestrations) INTO BATTLE/Greenwich Theatre (plain dull) In 2022 I saw 33 shows, and left at the interval of only one: THE 47th/Old Vic (poor Bertie Carvel ...) In 2023 I saw 48 shows, and left at the interval of four: A SLIGHT ACHE and THE DUMB WAITER/Greenwich Theatre (Pinter needs a stronger hand) WHEN WINSTON WENT TO WAR WITH THE WIRELESS/Donmar (v.dull play) THE CHANGELING/Southwark Playhouse (all style over substance - and they cut the sub-plot!) THE HOUSE OF BERNARDA ALBA/Lyttelton (a miscast, unfocussed production) Just my opinions ... Respect for your ‘leavings’.
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Post by lynette on Dec 29, 2023 19:43:30 GMT
I’ve only been to London once this year and I only did that because it was for Sunset Blvd. I’ve saved many hundreds of pounds as a result. Putting aside the cost of tickets when you can’t take advantage of short notice deals, if travel difficulties continue and if hotels continue to rip people off then folks like me will just stop going and will spend our money locally. You just end up thinking “how badly do I want to see that really?”. It’s a shame. And now for us who live in/tube distance we have the marches to contend with on Saturdays. I’m surprised the theatres and restaurants etc aren’t saying anything about the disruption. Well, not surprised..
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Post by lynette on Dec 27, 2023 16:23:49 GMT
Tom Littler is the ‘undiscovered gem’.
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Post by lynette on Dec 27, 2023 16:22:11 GMT
Much as the Slinger version at the RSC was flawed, reimagining the Weird Sisters as the Weird Children who also were the Macduff children added a new supernatural twist. Looking back, perhaps they were also supposed to represent to children that the Macbeths lost in some way. It was about the only interesting thing about the production. But even that didn't get away from the point being made about everything being predetermined. Enjoying the discussion here. When I was taught M there was no info on the propaganda or the sucking up to James , it was all about motivation. When I taught it, I tried to introduce something on the political context and how the staging would have worked, that marvellous parade of descendants leading to James who would have been there for one of the performances in court. Sucking up doesn’t come close. But they got the King’s patronage which was what the actors wanted. Good Ole Shakey. Now having seen the productions referred to here, I can see that one of the problems is that we now are not scared of witches. Probably many of the contemporary audience weren’t by this time but just enough to give a frisson. The Slinger prod addressed this because we are still horrified by evil children. Finding something external that really frightens us is very difficult. And we need it to balance the internal mind games of M and Lady M. So now we get left with those mind games and it isn’t enough. Patrick Stewart’s prod, the totalitarian state was good cos we are scared of totalitarianism…just about. Waiting for the next lot to pick up this play and see what they can do.
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Post by lynette on Dec 27, 2023 16:09:05 GMT
Flippin awful day. Supposed to be seeing Crazy for You followed by Dear England. Sadly our train terminated part way to London. Change of train required but next train too full and wouldn’t allow anyone to get on, next train the same. Resigned to not seeing C4U just take an easy trip into Waterloo for DE. But no, coming back my train is now being brought forward so getting home after the show would be far too risky. Now sat at home moaning How awful. I really feel for you. Two good shows. Hope future plans go better.
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Post by lynette on Dec 23, 2023 12:04:22 GMT
It isn’t by a long chalk, his best play. Why don’t they revive The Invention of Love?
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Post by lynette on Dec 23, 2023 12:03:05 GMT
Funny that, Jan. and just to add that the Othellos I’ve seen have all been remarkable and in the Hytner case, brilliant. What is it about the Scottish play that makes it a problem?
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Post by lynette on Dec 22, 2023 20:24:47 GMT
So disappointing Nothing new here Some atrocious and terrible costuming Poor Fleance looking like a school matron in a wool two piece Staging way too minimal in a bad way And the sound cliched and outdated Shame to have to wear 1980s style economy class headphones too I think having seen Stewart and Branagh give their all I have seen my “Macbeth” in my lifetime The Goold production was also directed so well I don’t see it being ever matched Since then from Kinnear to Eccleston The play has been handled by cack handed directors You are right in that it has been a while since we have praised a brilliant prod of this play. Seems that studying it at GCSE level ruins it for budding directors. 😂
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Post by lynette on Dec 22, 2023 20:22:05 GMT
Just to say I hope everyone has a good weekend and we can look forward to a year of good theatre and good chat here on the Board. Not an easy time for everyone, so again as usual, log in here if you want to chat/ have a moan/ reflect.
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Post by lynette on Dec 18, 2023 15:24:06 GMT
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Post by lynette on Dec 18, 2023 15:23:50 GMT
lynette undecided on the day, matinee or evening? We’re doing matinee
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Post by lynette on Dec 16, 2023 16:53:37 GMT
What’s on Stage: It’s flawed but feisty, and frankly, any show that can seamlessly weave “Y Viva España”, Irish dancing and Nick Lowe’s “Peace, Love and Understanding” together with such a sense of raucous, chaotic joy has earned itself an extra star. 4* Will look to catch it over Christmas, oxfordsimon second time you have motivated me to catch a play, seeing Glacier on Fri evening as was in Oxford this weekend anyway. Seeing this on 30th - Neil? I note about the seating; found it quite peculiar and yes, moves unexpectedly so beware.
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Post by lynette on Dec 13, 2023 21:36:05 GMT
Still thinking about this. The headphones both added and detracted. Added in the sense that the actors could really whisper and could use literally all of the tones in their arsenal, which were not inconsiderable (DT’s beautiful diction was amazing, his pronunciation of “rhubarb” was worth the price of admission on its own, and Cush Jumbo was stellar). Detracted in the sense that the actors were there, and acting, and we could see them, but the immediacy of live theatre was taken away a bit, for me. I tried taking my headphones off at one point (the beginning of “act 2” has some potential audience participation for those in the front row, be warned (I think you can decline by not making eye contact)) but there was too much going on to really do that for very long. The headphones worked beautifully with the witches, though. Overall I enjoyed it very much, there was some really superb acting. Thanks for posting this. Sounds like a nightmare for me. I’m not a headphones kinda gal at the best of times.
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Post by lynette on Dec 13, 2023 11:19:10 GMT
I think it's an uninspiring appointment, but I don't know who else (if anyone) was either considered or wanted the job. As most of the press coverage prioritises who she is rather than the work she's done I will say I'm concerned by her inept handling of two controversies while running the Kiln (the renaming of the theatre, and their refusal to host the UK Jewish film festival) - the NT job is very high-profile and diplomacy is one of the talents needed. On the programming side I expect she'll continue the Norris trend of tending to programme stuff of interest to Guardian readers, narrowing the audience appeal from Hytner's day. ... Here's Arifa Akbar in the Guardian: "In 2017, he {Norris} was criticised for his focus on new, forward-facing work at the expense at established classics. But that approach was vindicated when the work he chose – Tony Kushner’s Angels in America (1991) and Stephen Sondheim’s Follies (1971) – went on to commercial success with Tony award wins and Broadway transfers". So in her view two established classics from almost 50 and 30 years ago count as "new, forward-facing" work and the measure of success for NT productions is commercial success in USA. Last year, national has had a whole load of successes which have transferred to the west end or about to transfer. Dear england, motive and the Cue, crucible, e.t.c. I assume alba and the witches will be the same 50/50 (approx) new work. He's regime is clearly ending very strongly in commercial terms On indu, the kiln thing was a storm in a teacup really, no one really cared after a few months. The Jewish film stuff was more of an issue but that's all in the past now as well Commercially and artistically, she's done well at the Kilm, I'm sure she'll do well at the NT Not ‘in the past’ for everyone. Looking back from where we are now, the Tricycle refusal to host the Israeli film festival was somewhat of a canary in the mine, wasn’t it? Institutions are under pressure to cut ties with all kinds of people, things, issues and the NT will come under pressure in just the same way. Maybe being in the middle of extensive dental treatment is dampening my spirits but I am not optimistic, not at all.
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Post by lynette on Dec 9, 2023 23:12:45 GMT
Just got back after seeing the first preview. The first thing you spot is the headphones on all the seats. When you put them on they tell you which ear they should be on. I’m not sure if they added anything to the performance but you could hear everything very clearly. Certain parts of dialog only came through the headphones, for example, I heard the witches but never saw them. The stage itself is just a raised square in the middle with a large ‘window’ in the background through which you can see other members of the cast at certain times. Overall I enjoyed it but couldn’t say it was the best Macbeth I’ve seen. I enjoyed David Tennant’s performance but preferred Cush Jumbo as Lady M. I’m not very good at writing these things but I’m glad I saw it Thanks for posting. I do get a good idea of the show from this. I sent my tix back because I didn’t want to have to use the earphones. I couldn’t understand the concept. Why wear if you are supposed to be listening to what is in front of you? Still puzzled.
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Post by lynette on Nov 25, 2023 15:45:44 GMT
I’m just thinking how clever to schedule this over the Xmas holiday period. RSC take note.
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Post by lynette on Nov 25, 2023 10:42:36 GMT
Dear England is about British football, it does fine in London but it's a bit foreign for New York audiences. It's abiut English football, not British football. The clue's in the name. Not so foreign if they watch the Wrexham programmes which are very good by the way.
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Post by lynette on Nov 12, 2023 22:20:38 GMT
My GP surgery has just changed hands and they now have a booking system of online only. I'm quite PC literate but even I couldn't figure it out. You have to choose your symptons from long list but mine (a very common one) not there so you can't go any further. Spoke to reception and 3 of then couldn't find it either. I told them that if they couldn't do it then what chance do the rest of us stand especially the elderly and those whose first language is not English. Now if you have an "inverted nipple" you are good to go but high pressure is a no no. They agreed with me and said their IT people would look into it. Good news is they have phoned me and told me my sympton is now on the list. But now even though the doctor has told me to book a follow up appointment in a months time I've been told I can only request it online 2 days before!!! So if you didn't have high blood pressure you will have after trying to book an appointment. You have my sympathy. My surgery asks you to fill in a load of boxes with the problem. There isn’t a list of symptoms thank goodness. But the point you make is important. How do people with limited IT skills manage? It took me a while to get the hang of it and I’m ok with computer, not brilliant. But what I’m thinking is how do you know what your symptoms are? The one you have that might be the key or help to diagnosis is the one you don’t know about but shows up in a way a person to person talk would show up. A doctor looking at you, seeing how you move, get up from a chair, the colour of your skin, your hard breathing etc would see symptoms you just haven’t bought about. Surgeries have become bureaucratic, tick box exercises, ‘scientific’ and careless. Yes, careless in both senses of the word. I’ve had plenty of experience with doctors. I’ve been very lucky with most and treatments but I can tell ya a few stories….
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