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Post by jadnoop on Oct 18, 2018 20:29:01 GMT
Can those who have booked already advise on how sold this is already? I am anxious that I will miss out as I did in Dublin and Galway for this. You don't need to be a member to see the availability. If you add the membership plus to your basket on the website, then it'll let you see the seat availability. From some spot checks it seems like there's still a fair bit of availability. However, it's difficult to know for certain as not all seats are put on sale immediately so any greyed out seats will be a mix of 'sold already' and 'waiting until the general sale'. |
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Post by jadnoop on Oct 13, 2018 12:27:53 GMT
Um. Well. I think I feel the same way about this as I do about the later work of Terry Gilliam, if you see what I mean.... more when i’m back at my keyboard. The early points on twitter are fairly mixed, but this comment is definitely intriguing. From the blurb on the website, if they've managed to get Gilliam's visual aesthetic and tone then it seems like it could be a great fit. Edit: just noticed that you used the word 'later'. Hmm, still enjoy his work, but he's definitely past his creative peak. Slightly more nervous now. |
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Post by jadnoop on Oct 11, 2018 15:59:52 GMT
With this, The Damned, Medea and Ballet Black all going on sale on the same day, I'm thinking of cutting one to reduce the impact on my wallet as well as my spare time.
Did anyone see this in Ireland? From the middling reviews online and the comments here about past Walsh/Murphy productions, it's probably the one that I'm least interested in, but would be great to hear from anyone that has seen it already.
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Post by jadnoop on Oct 11, 2018 10:11:01 GMT
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Post by jadnoop on Oct 11, 2018 10:06:30 GMT
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Post by jadnoop on Oct 7, 2018 7:33:35 GMT
I don't know how much of an overlap there is of TB members and Glastonbury-goers, but good luck to anyone who'll be spending the next few hours frantically hitting refresh.
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Post by jadnoop on Oct 5, 2018 12:10:02 GMT
I'm getting vibes of National Treasure with Robbie Coltrane from this but I could be totally barking up the wrong tree. Yep, that's my feeling too from the blurb. And that's slightly my worry; if it is covering that subject matter, then IMO it's really important to be done in sensitively. And from reading about, I'm not clear if Ravenhill is likely to achieve that balance. |
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Post by jadnoop on Oct 5, 2018 11:39:10 GMT
The cast for The Cane has now been announced; Alun Armstrong, Maggie Steed, Nicola Walker royalcourttheatre.com/whats-on/cane/Hmm, still not quite sure, but the cast looks interesting. From reading around, Mark Ravenhill seems to be a writer who quite divides audiences & critics. What to do... what to do... |
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Post by jadnoop on Oct 4, 2018 4:20:05 GMT
But the normal system amounts to a ballot anyway; albeit one where not everyone has an equal chance.
Under the normal queue-IT system, everyone is randomly assigned a queue number at the start of the sale. The difference between this and a fair ballot is that it (a) requires you to be available at a specific time (b) allows people to effectively enter multiple times by having multiple computers, and (c) has multiple 'ballots' for those who can afford membership.
I get that a ballot is frustrating, but it hardly makes sense to complain on the grounds of access/fairness.
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Post by jadnoop on Oct 3, 2018 11:49:56 GMT
Out of interest, why do you say this? I feel like, in instances where demand so massively outstrips supply like this or the recent Punchdrunk thing or the RADA Hiddlestone thing, having a ballot is the easiest way to give everyone a fair chance.
Don't get me wrong, it'll be frustrating to miss out, but it seems fair and at least I won't be sat for hours jumping between computers hitting refresh.
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Post by jadnoop on Oct 3, 2018 9:42:59 GMT
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Post by jadnoop on Sept 30, 2018 7:27:57 GMT
Good choice! Regarding the language, you may find it difficult (it can be tricky for a native English speaker!) so you might want to read a summary of the plot beforehand. Other Shakespeare productions in London at the end of October are Anthony and Cleopatra at the National, and King Lear with Ian McKellen at the Duke of Yorks. Both of these are largely sold out but you may be able to pick up a returned ticket if you keep checking the website. There is also Measure for Measure at the Donmar - however this seems to be a radical reinterpretation of the play so might not be the best one for you to go for. Matilda and Don Quixote are both RSC productions - Matilda is a musical based on the Roald Dahl book, Don Quixote is a new play based on the novel. Unfortunately for The Globe you are here between the end of their outdoor theatre season and the start of the season in their indoor Sam Wanamaker Playhouse. You can do a tour of the theatre which you might enjoy if you are interested in Shakespeare.
Hey @xanderl, I don't have anything to add, and I'm not the opening poster. However, I gave you a 'like' and thought that probably wasn't enough given the effort you've gone to answer the question in detail. These days it seems like much of the internet is filled with abrasive users who have little time for 'noobs' so it's really nice that TB is a place where people are happy to take the time to provide well considered answers to the questions of complete strangers.
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Post by jadnoop on Sept 28, 2018 11:30:32 GMT
It let me in when the timer went down to 0, even though my queue number hadn't changed, and booking was very smooth. Only problem was when I went to add another production it too me back to the queue page - it was still my turn but had to wait to be redirected again. So if you are nervous, suggest buying one show at a time. Lots of tickets left, All My Sons selling pretty well, American Clock much less so, so am going to hang on for offers on that one. Any of the PWC preview £10 tickets left? |
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Post by jadnoop on Sept 28, 2018 11:20:28 GMT
Hmm. The Old Vic seems to be going for a completely different approach to All About Eve yesterday.
Instead of crawling slowly to the front of the queue before being shunted back a few thousand places, this one doesn't seem to be moving at all. The 'estimated wait time' is going down though, so who knows what's happening...
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Post by jadnoop on Sept 28, 2018 0:24:29 GMT
The page for 'When We Have Sufficiently Tortured Each Other' has been added to the NT website now (not live yet though). Assuming that the timetable is the same as the previous seasons, the full announcement should be in the next few days.
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Post by jadnoop on Sept 26, 2018 18:20:09 GMT
Yes, pre-sale for those signed up is tomorrow. Does this mean that the pre-sale links have already been sent out? I signed up but haven't received any emails, so presumably that means there I've missed the email (or it went to spam)? |
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Post by jadnoop on Sept 24, 2018 9:02:38 GMT
Sonia Friedman mailing list subscribers can book on Thursday 27th. Probably worth trying to get on that if you want to keep your tabs clear for the Old Vic. Cool. Getting tickets for Yayoi Kusama's infinity room was crazy but surprisingly smooth this morning, so fingers crossed that bodes well for the theatre sales coming up this week. |
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Post by jadnoop on Sept 21, 2018 14:58:55 GMT
The "National Theatre" bit I get, but what is "Wales"? Something to do with a retirement home for Prince Charles, is my best guess? To quote Ali G, it's the fish with the biggest dick in the ocean. |
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Post by jadnoop on Sept 21, 2018 14:57:15 GMT
Tickets on sale Friday 28th Sept. Oof, same day as the general sale for the Arthur Miller plays at the Old Vic. It's going to be a stressful day at the computers. |
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Post by jadnoop on Sept 20, 2018 19:53:11 GMT
Ditto, though - when I saw SRB was going to be in RII my first thought was "who as?". Still, the recent Hamlets have been as old as Uncle Monty (if my maths is right, Richard Griffiths was around 38 in Withnail). Just on a tangent, I saw Withnail for the first time only a couple of years ago and was very disappointed in it, one of those cult films that have not stood the test of time for those who didn’t see them at the time in context. I had a similar reaction to the stupendously tiresome Blues Brothers which I saw long after it had achieved cult status. I'm not convinced that Withnail needed to be watched at the time to be appreciated; after all, it's well loved by uni students who would've been very young when it came out. My feeling is that it needs to be watched at the right moment in life; if you watch it when your life is relatively settled it will probably click less than if you watch it around your teens/twenties. |
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Post by jadnoop on Sept 20, 2018 14:43:17 GMT
Looks like we should be getting an update in the next few days with full play information, since these talks have just been added to the website:
1/ A talk with/about Martin Crimp (Feb 15th 2019) so presumably this means that "When We Have Tortured..." will be coming soon,
2/ A talk with Pam MacKinnon & Bruce Norris (Mar 15th 2019) so presumably "Downstate" will be playing around this date and announced soon.
3/ A talk about Tartuffe (Apr 25th 2019)
4/ A talk with John Donnelly (Apr 27th 2019)
Does anyone know what the third and fourth talks relate to? I don't see these listed in the 'coming up at the NT' page.
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Post by jadnoop on Sept 13, 2018 14:11:38 GMT
Curious Incident is 29th November - 27th April at picadilly theatre.
It went onto the NT website along some Hadestown talks and a Michael Billington lecture.
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Post by jadnoop on Sept 13, 2018 13:48:43 GMT
Ninagawa' s Kafka on the beach is playing in France in February so presumably that means a return to the Barbican.
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Post by jadnoop on Sept 11, 2018 11:19:59 GMT
Amex presale booking is now open. I've booked for the free screening "Surprise Treasure" on Friday 12th October (which is more than enough info to work out what they are actually showing) I have no idea what that is! |
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Post by jadnoop on Sept 10, 2018 22:04:39 GMT
In many ways this reminded me of Annie Baker's The Flick at the National a couple of years ago. Both were very American plays with precise, but naturalistic dialogue, wonderful acting, and beautifully realised sets that were somehow simultaneously both completely real and yet surprisingly stylised.
Unfortunately however, for me that's where the similarities end.
Despite being slow, deliberate and 3 hours long, The Flick was masterful and held my attention the entire time. Despite feeling 'true' there was a wonderful arc to the story as well as for each of the characters, and the story made for interesting commentary on modern life. In contrast, despite often speaking at break-neck pace, overlapping and intercutting dialogue, The Humans' 90 minutes felt ponderous. Despite the apparent pace, much of the story seemed to meander aimlessly and didn't really grab my attention. The 'big' character moments felt forced, and by the time the largely unsurprising revelation occurs I simply didn't care enough about the characters.
This was a play I really wanted (and expected) to love. There were a couple of great moments, such as the beautiful & eerie lighting of a spiral staircase in the darkness, but in the end it really wasn't for me.
Having said that, I seemed to be in the minority, with lots of laughter and tears from audience members nearby, and a fair few giving a standing ovation.
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