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Post by andrew on Apr 17, 2024 20:08:09 GMT
I quite like Loved Labours Lost. I can see what solotheatregoer means, it's quite broadly played, but I think like tartantraveller says it serves to make it a bit more appealing to those of us that aren't ardent fans of the bard. It goes too far at points (totally agree about the Backstreet Boys bit, some elements of the play within a play also come to mind) but the additions to the script generally felt earned and funny.
Luke Thompson is excellent, he's really proving himself to be a force in the theatre, and I'm looking forward to seeing something that really tests him and let's him really give something his all emotionally, Willem in A Little Life and this don't really quite let him go there. His funny bones are there. I don't think the crowd I was with were particularly his crowd, it felt more like a normal theatre group to me than an especially young set.
I also quite liked unexpectedly seeing Nathan Foad as Costard, he kind of steals every scene he's in. As I say I'm no Shakespeare expert so I can't be sure but I'd imagine this won't go down as an all time great production, but it feels very competent, I found it pretty funny, and the young vibrant cast were on fine form.
The song at the end was handled well. I'm glad I went.
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Post by andrew on Apr 10, 2024 17:06:41 GMT
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Post by andrew on Apr 10, 2024 11:02:32 GMT
Got my tickets which I'm happy with, but yeah competition was fierce. I hesitated and looked at circle tickets for a second, then came back to stalls and it was suddenly the last 2. As far as I could see it was front row stalls and the back row of both circles. So if you got a good seat for this, the key worker sorts are either going to be looking up over a high stage or at the back of the section. Sorry it's front stalls, back of dress (royal in this theatre) and front of upper circle.
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Post by andrew on Apr 10, 2024 9:25:33 GMT
Got my tickets which I'm happy with, but yeah competition was fierce. I hesitated and looked at circle tickets for a second, then came back to stalls and it was suddenly the last 2. As far as I could see it was front row stalls and the back row of both circles. So if you got a good seat for this, the key worker sorts are either going to be looking up over a high stage or at the back of the section.
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Post by andrew on Apr 9, 2024 21:44:08 GMT
Has anyone been sent their link for tomorrow’s sale yet? Or do we expect it to go out in the morning? Nope not yet. I think Sunset came out only shortly before the time.
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Post by andrew on Apr 3, 2024 20:52:28 GMT
Very strange definition of “investing”. I think if you spend money on something you’ve absolutely invested in it. I know that INVESTING in a show has other connotations for some. It's interesting though that people feel they are owed something because they spent money on a show. It's a commercial enterprise, I've probably spent a thousand pounds at McDonalds but I don't feel like they owe me anything, I'm not going to get annoyed if someone that isn't me has access to something ahead of me. Maybe there is a relationship I haven't experienced between commercial theatre producers and patrons, but I personally don't feel like I'm owed anything by them.
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Post by andrew on Apr 3, 2024 15:25:07 GMT
I’ve been hearing the same thing from people about this … drones. Hearing lots of very credible rumours he's strapping cameras onto the back of rats and releasing them into the audience. "A plague on both your houses" rings out as live images from atop a sea of rodents are projected onto screens everywhere capturing the audiences own feet getting brushed past and nibbled. Seriously though in what way? Drones in the theatre would be too noisy, one imagines. Maybe Tom has a soliloquy on the roof with a drone flying around him? To be fair if you'd said to me a year ago Jamie Lloyd was going to have an actor singing live wandering around the Strand in time to the music I'd have said that seems a bit of a stretch.
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Post by andrew on Apr 2, 2024 21:56:11 GMT
I don’t want to repeat what others have said. Clearly Snook is doing something incredible here, you’ve got to give her credit for signing up for something so physically gruelling when she could easily just enter the Marvel movie phase of her career. Tonight she fought with a lot of snot on her face during a later scene, mixed in with the sweat and tears.
I think as well that the choreography, video design, set design and direction are very impressive. I reckon there was was a bit too much screen time ultimately, when you feel like you spent about 20% of the play looking at the real life actor it makes it a bit less clear why you’re seeing something expensively in a theatre as opposed to cheaply in a cinema. I’m kind of done with video screens on stage, this felt very much like the climax of it. We can go back to just looking at real humans on a stage for a couple of hours.
I don’t like the source material for this, I think it lacks depth and mainly serves as a vehicle (as most of Wilde’s stuff does) for Oscar to insert his witticisms and observations into the characters mouths, we’re supposed to admire the intelligence of the writer more than feel anything. The play kind of suffers from the same thing, as hard as everyone worked I’m not sure I ended up especially moved by it.
The allusions to instagram and the modern (or what we perceive to be modern) obsession with image, beauty and youth were well-handled, I think the production justified its existence in those moments. It’s incredibly fun and whilst I think the above posters Norbit allusion is hilarious I don’t quite agree, the gurning and melodrama sort of worked for me.
I had a great time, it’s definitely worth seeing, and thank you to those who pointed me in the direction of waiting until the day before or day of to book tickets, mine were half price.
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Post by andrew on Mar 20, 2024 21:08:08 GMT
I just got a reduced ticket for today's matinee near the end of Row D in the Dress Circle for £50. Hope I can see some of it! How did you manage it? Also does anyone have opinions of stalls row V or W? Trying to contemplate a way of seeing this that I can afford.
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Post by andrew on Mar 7, 2024 15:16:34 GMT
Members and associate members of ODRAS (Olivier Drum Revolve Appreciation Society) are up in arms about some of these comments, let me tell you. Finally the taxpayer is recognising the importance of big bits of scenery emerging from the depths of the Southbank whilst also spinning.
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Post by andrew on Feb 19, 2024 20:08:22 GMT
Don't forget that the rehearsal and early previews can be very intense for the cast and crew, running it through multiple times a day for weeks on end, he may well be perfectly up to the role and just struggling with this first bit of it. Totally agree with others though that I'm not feeling enticed having seen the fairly flawless original NT cast to see what sounds like more of a mixed bag at the sweltering Lyric.
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Post by andrew on Feb 11, 2024 12:46:30 GMT
I hadn't planned to get any merch, but the shirt was actually so beautiful I couldn't resist. I saw the show 4 times at the National, and was a little disappointed last night. Compared to the National, it feels like they only have half the ensemble and half the musicians. Did they downsize it for Broadway? Many of my favourite scenes lost much of their power. I was especially disappointed by Hades, who felt like a pantomime villain for much of the show. I think this is the tension I'm sitting with, I saw the show pretty well mounted with all the original cast (whom despite my reservations about the show as a whole, were all excellent) at the Nash, I'm much more familiar with the music now so may enjoy seeing it again but is there any reason to go and see this? Will I only be disappointed?
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Post by andrew on Feb 11, 2024 10:07:33 GMT
I think I'm settling on 4 stars. The setting of a very normal family preparing for and partying around a wedding as a crucible for some of the ideas it plays with is great, and the different characters are all quite well constructed (particularly the females). What stops me raving about it is just the sense that each time a theme came up and was being explored it felt like the writer held back from getting somewhere really interesting with it. I'm not suggesting the author needs to solve tensions over the miners strikes or immigrant communities but I never felt like any problem brought up really found a conclusion. I'm also not sure I completely supported the magical moments that pepper the play, some of them felt earned and proportionate (Uncle Pete's moment about the mines) and some felt a little misplaced (Leanne's commentary that concludes the first act).
What makes up for this is a cast doing a terrific job with material that feels real and authentic, funny, and continuously engaging. I also never felt like it was making fun of a certain class of people, just like Gavin and Stacey it treads the right line of celebrating a 'normal' British family and avoids a sense of upper-middle-class Londonite judgement. Looking forward to more from the playwright and more work of this quality from an institution that had been struggling to pick the right things to programme for a good few years.
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Post by andrew on Feb 8, 2024 7:25:58 GMT
I think a lot of older people just don't know when their phone is on silent or not. Oh, please. I'm 73 and perfectly capable of putting my phone on silent, or DND, or airplane mode or even turning the darn thing off to prevent it from bothering people (including myself). And I'm not unique among my friends. (My pet peeve is smart watches that spring to life with every movement of someone's arm.) Not going to be baited into a young vs old argument but nomatter what generation you are, the first three modes you mention are exactly the problem; it’s usually alarms (which break through all 3) or phone calls from contacts (which break through DND) that make phone noise during a show. I wish everyone would just turn the thing off.
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Post by andrew on Feb 8, 2024 7:19:39 GMT
I’m hearing that Rob Madge’s show has been cancelled on load in day? Anyone with news? Devastated for him if true. Nothing more than rumours, but it seems everyone was sent home and told the run isn’t happening. The second half is that it’s because they couldn’t quite get the final funding in order which I find slightly hard to believe but I guess it is Broadway. Not a big Rob Madge fan but I feel awful for him, I was surprised it went to broadway and not somewhere smaller in NYC and maybe ultimately it should have done.
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Post by andrew on Feb 5, 2024 17:54:22 GMT
Another one of the SatMat crowd here, mid stalls did not notice a helicopter but did spot the enormous protest happening one street over whilst entering the theatre, bit of drama before you've even started.
It's a fantastic play, really enjoyed it. Acts 1 and 2 are stronger than Act 3 in terms of impact, I think I was expecting a bit more plot to occur towards the end than what we got, but I'm not complaining too hard. Laura Donnelly was terrific, and as others have pointed out it's great to see a play centring around women, sisters, mothers. I wondered if it actually fails the reverse Bechdel test, to make a nice change. Definitely one to see.
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Post by andrew on Jan 16, 2024 17:29:34 GMT
Woooo 1000th post!
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Post by andrew on Jan 16, 2024 16:56:37 GMT
Anyone get an email regarding sightline issues with certain seats for 2-3 minutes during the second act? I assume I got it as it affects my seats, but it's hard to know whether to change tickets or not based on such little information. Are they offering you a switch? I wonder what it could be.
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Post by andrew on Jan 16, 2024 16:55:56 GMT
That’s distractingly shouty isn’t it? It didn’t sound like this in the theatre. It absolutely did when I saw in November; very shouty throughout. But I liked her a lot - she was one of the only things I personally enjoyed. But that is the performance almost identical as when I saw it. It's a bit like Defying Gravity, I'm happy to be shouted at when the emotions are running high, and this scene where she sort of regains her power is the place where it feels right.
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Post by andrew on Jan 15, 2024 21:24:42 GMT
Clips from all parts of the show keep appearing on my TikTok feed, and of course I am absolutely appalled to see bootlegs, horrified and shook. I have to keep watching them over and over again, that's how terrible it is.
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Post by andrew on Jan 9, 2024 21:49:08 GMT
I want to take my daughter to this with the cheap standing tickets but she isn't 12 until April, does anyone know if they are likely to quibble the age restriction or let it go as she's mature and only a few months off. I have no experience but how do they ID young people anyway? If she looks 12 or older you're going to get away with it.
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Post by andrew on Jan 9, 2024 21:47:01 GMT
I don't see how anybody can consider it in character for a faded silent film star to be tweking in 1950, but OK. I'm obsessed with this take. A silent film star in 1950 would not be twerking, but what would the abused and mentally ill faded star of 2024 be doing? The bear's comparison to Shakespeare is so apt, almost every modern mainstream production tries to make it relevant to a modern audience by setting it during, or using the aesthetic of a more modern period. "But Othello wouldn't have a mobile phone!" isn't the sort of thing you hear people saying as you're walking out. I think it's totally fair to say you didn't like this aspect of the show, you preferred it in a more literal incarnation. I'm absolutely in the camp that found the traditional Sunset a little boring and found this the most refreshing thing I saw last year.
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Post by andrew on Jan 7, 2024 16:22:52 GMT
I've just read through this thread before commenting and wanted to pen down thoughts before reading the spoiler thread, I'm not sure if there's more commentary on there because this thread is actually more barren than I'd have thought given the prominence of the play.
Cards on the table, I've watched Stranger Things since it came out but in recent years have found it a bit disappointing and reckon it should have ended itself by now. I got the cheapest reasonable seat I could in the back row of the dress circle which was OK view wise but maybe distanced me from the action a little bit.
I didn't think much of it to be honest. Positive aspects are that yes, as everyone says, there is significant technical achievement putting on this much stuff in a West End theatre. Is there an effect in here that we've not seen before? I didn't think so. In terms of visual amazement I would put Cursed Child above it which was at times astonishing, this is merely impressive. Lots of sparks pyros, lots of projection and screens. It's all clever and well thought out though. It is quite fun, as others have said it's literally taken the TV show and planted it on stage, it's not trying to be Lorca or Shakespeare it's trying to do a family orientated action/horror flick on stage (I always thought Stranger Things was really for adults seeking the 80s nostalgia, but this didn't really feel like it was aiming at that, more aiming at anyone who watches the show, I guess you can't do 80s nostalgia when it's set in the 60s). So being like the TV show it's a romp. There's a bit of adventure in it. The actors are all great.
But what was the point? It's so slight and meaningless. A subplot involving a search for a family member is the closest they came to an emotional plot point, and it didn't come even close to delivering. The main thrust of the plot, without saying any spoilers, just sort of happens. And if you've seen the TV show you know where it's heading. And even the truly tragic and sad elements of the story that it grazes past are just not looked at or dealt with, they're incidental to just getting to the next effects sequence. It reminded me an awful lot of seeing a sort of blockbuster musical, like Back To The Future or something. It's all just about getting from moment to moment, in a plot that isn't even that interesting, not really taking the time to have any tender or character building moments. Here's one or two funny lines thrown in. Here's a big set piece here. Here's the finale section, oh look we're finished. Doesn't matter if this had any meaning, we've done all our moments now and can wrap things up. With the added benefit that they can chuck Stranger Things references in and a few jump scares.
What was the point. I'm glad it doesn't last 4 hours anymore. I think if I was a 12 year old boy I'd like this. If I was a non-theatre going adult and wanted to sit with popcorn and my beer (as many were) and not think too hard, I'd like this. For me it wasn't entertaining enough, wasn't interesting enough and wasn't emotionally engaging enough to justify it's existence.
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Post by andrew on Jan 7, 2024 15:14:27 GMT
Don't want to retread ground since I saw the final performance but I really like it. It worked for me on most of the levels it was trying to, I found it engaging. It was a slightly tough watch from the sides of the front stalls just for how many things could be in your way but you get what you pay for. My big negatives were the grandmother and the Birchian overlapping lines from the first scene which just weren't necessary. It made sense in Anatomy of a Suicide, it didn't make sense here. Like performance art incongruent with the style it eventually settles into.
Great work from everyone involved though, would let Pepe destroy the fabric of my entire family any day.
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Post by andrew on Jan 5, 2024 14:48:07 GMT
Bonus answer, the end of Betty’s script is the ending of the show, from approximately "May I say a few words, Mr. DeMille". This is my favourite detail I spotted on viewing 2, she types out THE END as if she's just written the show we're watching. I loved that.
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Post by andrew on Jan 3, 2024 11:59:04 GMT
Boring question but what time are people getting out of the theatre at currently for this?
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Post by andrew on Jan 2, 2024 22:11:32 GMT
Some questions for those who've been a lot about the title song: 1) Have they ever not gone outside? It occurred to me watching it that they specifically guard and have the option of walking out the stage door, going up the stairs that lead to the Savoy entrance road and doing a much truncated but very safe wander. Has it ever happened. 2) I can't remember ever seeing an answer to the question about what happens on Mondays with him crouching down in front of the Sunset Boulevard A-Board, is there a Rachel Tucker one? 3) During the overture when Tom walks out of his dressing room, the last time I went there was a swing who came out without his top on and then acted all surprised and covered his nipples, is this a different gag every time? I can't remember what happened the first time I went but don't think it was this 4) Has ALW ever posed for real instead of the cutout? 5) Am I right in saying there's more security now than there was at the start? Understandable if so.
Bonus unrelated questions now I'm on a roll, I tried and failed to spot the camera they use right at the end to capture the final note of the show, I was assuming it was hung on the edge of the circle, I didn't want to spend more than a second or two looking because I was enjoying the moment obviously, but where on earth is it? Also, I reckoned the only pre-recorded video they use was of Young Norma towards the end when she's in super slomo, do we reckon that's true? I'd wondered if the image of Old Norma during the opening credits sequence was also recorded but it wouldn't have to be.
These are super nerdy questions, I'd have loved a behind the scenes video on what they've done technically on this, I doubt it'll come to pass but would've been cool.
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Post by andrew on Dec 30, 2023 18:19:51 GMT
The flying effect is (in my view) smoothed over by the song, the lighting and tension in the story. I don't think a lot of people walk out of act 1 feeling disappointed by how it ended, which is strange because the bear ain't wrong, it's not a great effect in 2023. I just don't think it matters too much how convincing the way they stage it is, it's exciting no matter what you do.
I don't think I'd be alone in saying that Defying Gravity is one of those moments in musical theatre that will live with me forever though, even if it could be done better with a refurb. Wicked was the first West End show I ever saw and as a young adult back when it was fresh, the whole show was dazzling, but Defying Gravity is what we talked about on the tube home. I haven't gone back since the 10th anniversary but if I did, the act 1 closer is still what I'd most be looking forward to. I've no idea how people seeing it for the first time today feel, I guess it's them you've got to appeal to not me. I don't think I'd weep if they improved it but in the same way I didn't really support re-doing Phantom just for the sake of it I don't know if I'd want them to re-do this. That's a completely different issue for me than a show being stale because of lack of direction, passion in the cast etc.
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Post by andrew on Dec 28, 2023 23:06:25 GMT
I dunno how often this happens but there was a complete blackout for pretty much the latter half of the title song today. When Tom walked on stage seeing the completely dark screen I could swear he looked annoyed for a few seconds. If I hadn't seen it before I'd be completely gutted because it's such a good bit, I wonder why the technology failed them today...
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Post by andrew on Dec 28, 2023 23:04:25 GMT
I’ve heavily relied on waiting until January and then getting a day seat for buttons and having a gay old time. This year it’s completely sold out. Is it the pull of Ecclestone? Theatre returning to normal for the population at large? I’m going to end up missing it this year which is a shame (I love Chrissy E) but didn’t want to spend big bucks on a show I’ve seen several times already for cheap. There are a few tickets available still for several performances, typically around £75 but starting at £33 for some. Expect a few spares to be released so check each morning, but I doubt very much that there will be hefty discounting that we have seen in previous years after Christmas. I think that Christopher Ecclestone has been exceptionally cast in this role - I love this show and have seen all of the Scrooges. Christopher Ecclestone captured something in the writing that only one other actor managed (Rhys Ifans in the original cast), and I think word of mouth plus good reviews meant that more people were happy to pay full price. I hope you can find a way to see the show this year. Rhys Ifans did it best in my opinion having not seen Ecclestone. Y'know ceebee when I looked last night there was literally nothing available but you're right now there is a selection. I look like I was wailing over nothing but I swear they weren't there yesterday!
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