990 posts
|
Post by nash16 on Dec 9, 2017 0:58:47 GMT
I went last night. Thought it was jaw droppingly good overall. Loved the big puppets. Loved Pinocchio, Jiminy and Lampy especially. Gepetto was beautifully played. Small boy behind me (aged about 5) was spellbound throughout and loved it. Fantastic final payoff and the Monstro section was out of this world literally. Am now going back and taking my kids and a friend to see it too. The Fox was the least successful part for me - they really need to change his costume and he needs to drop his Trunchballisms. Thoroughly recommend. Thank goodness the kid near you was engaged. The 6 near us were slumped, and one fell asleep!
|
|
990 posts
|
Post by nash16 on Dec 6, 2017 13:13:55 GMT
We were also there on Saturday. Feel very lucky now that we got to see a show at all. Second preview. The only thing that didn't work, as mentioned, was the nose in the second half. It worked fine in the first half, but you could see how easy it might be to fail, as the guy playing Pinocchio really has to press the fake nose to his face hard. We were Row M so got a good effect of the stage overall.
The problem with the show as it stands at the moment is that it's just not magical enough. For all the work that ha gone into the giant puppets, and the flying, etc. the script never allows the show to lift off the page. It also, in it's design, seems to be about four different shows. Connected set pieces that don't quite create a throughline, in the way say War Horse's design and puppet use did.
An awkward problem for the show is the puppets themselves. Jiminy was actually one that fared beter, so if they have got rid of it, that would be a shame. But the giant puppets used for Gepetto, the dead-mum figure, and the Coachman, all seem to big and wieldy. This is turn means they take an age to get on and off stage, slowing it all down and killing the pace. They also seem dead behind the eyes. So you stop looking at the puppet because there's little emotion there, and start looking at the actors instead.
The songs are well done, but it seems like there are only four of them in the entire 2hr 40minute show.
(A reason I would strongly suggest to offer that this thread actually be moved to the plays category.)
This is really not a musical. The only "big" number is "I've Got No Strings" at the end of the first half, repeated to death, and coming from nowhere, just seems too forced. Makes for great production photos, but sitting there watching it, we felt nothing. A lot of sound and lights.
Also, because they've chosen only to use so few songs, they're just repeated on loop throughout. It gets tiring.
The cast worked very hard. Most of the casting choices seem right. The only miscast was the actor playing the Fox who is playing it as some sort of drag act. Very bizarre. And not in the least threatening or scary, as he should be.
As has been mentioned, there are a lot of moments (blue flames galore) taken from Cursed Child, but again, these seem out of place with the stripped back prod values Bob Crowley seems to have gone for in much of his design.
Ultimately though, the story (as someone mentioned, just 88mins in the Disney cartoon) doesn't have the weight to sustain itself (or our attention) for 2hrs 40mins. The kids in the audience looked bored. Never a good sign. Only one boy near me was excited when Jiminy was on (credit to actress and puppeteer operating it). The script, aside from the only vibrant scene in the second half with Dawn Sedgewick from Our Ladies, never provides for the creators to give real action, pace, and adventure.
It is salvageable, but in the time left before press (a week and a half), if the Olivier shows this year were anything to go by, even hacking away and ammending said script, will not be enough.
I think Disney have watched it, and demanded that 2nd cancelled show. It all looks too weak and not exciting or joyous enough.
It will be interesting to hear from others here if they can get the magic and joy back into it, beyond the initial sighting of the big puppets, and lighting effects.
|
|
990 posts
|
Post by nash16 on Dec 3, 2017 12:48:57 GMT
It's fairly obvious from all the above posts that the version first previewed is a work-in-progress While I take that comment on board, surely script editing, workshops and rehearsal time should be used for "work in progress". Once a show goes into the theatre technical issues take over the rehearsal time and previews should be used to "bed the show in" and do some minor tweaks/cuts/edits depending on audience reaction etc. not rewrite the piece! Common cancelled more than one preview to amend/totally rewrite its script, if I recall. They never seem to sort the script out in either the workshop stage or rehearsals at the National, and always end up with this. It's so frustrating that they never learn.
|
|
990 posts
|
Post by nash16 on Nov 28, 2017 13:31:33 GMT
She's miscast surely as the sister in law. She should be playing the wife...
|
|
990 posts
|
Post by nash16 on Nov 19, 2017 20:30:35 GMT
It's like the Old Vic and Young Vic are having a Vic-off as to which theatre can respond the worst to harrasment allegations...
|
|
990 posts
|
Post by nash16 on Nov 19, 2017 2:01:14 GMT
|
|
990 posts
|
Post by nash16 on Nov 14, 2017 21:58:27 GMT
Good heavens, are people still employing Tunji Kasim? I have to assume he's an absolute delight to have in the rehearsal room, because they cannot be casting him on the grounds of acting ability. Good to know we're not the only ones who struggled with him. The other young actor in it had about 3 lines but acted him off the stage. I was like Give him Tunji's part instead and we'll be fine.
|
|
990 posts
|
Post by nash16 on Nov 14, 2017 17:04:30 GMT
What is the casting misstep? Douglas Henshall? Michelle Dockery? I thought her innate blankness worked in the role, but - as I said somewhere else - she seems to build her entire performance around two facial expressions. (But then, she usually does.) Agree about Dockery. She didn't seem to have the natural drive or fire of Diana. Also Tunji Kasim failed for us. He lacked the gravitas and presence to give the required status to that part. We did see an early preview, but would be interested if others felt the same about him. Most tricky in the head-to-heads with Cranston, who even when defeated managed to look stronger than Kasim. Couldn't fault the rest of them.
|
|
990 posts
|
Post by nash16 on Nov 9, 2017 2:09:48 GMT
|
|
990 posts
|
Post by nash16 on Nov 2, 2017 1:22:11 GMT
This show has truly broken me. I will write up a full thing later, but wow. I can't remember the last time I was so moved, maybe Titanic. Most of the audience appeared to be in tears. A great show, great cast, amazing video and projection design, and a really moving story that hits you somewhere we all hit at some point in life. This is the kind of show that will move alot of people. Now watch the film. It'll make you bawl even more. Amazing work.
|
|
990 posts
|
Post by nash16 on Oct 31, 2017 10:23:17 GMT
We're all being a bit premature in saying it's definitely coming off, aren't we? There hasn't been any official announcement yet. They may just do massive discount sales and limp through to the end of the run. The issue would be timing. If they close November 11th, allowing for get outs and get ins, they only have 6 full playing weeks there (7 if they go right up to the Saturday before Sara Pascoe's week). They would need to announce both the closing of Heisenberg and the announcement of whatever they're replacing it with simultaneously and the incoming show would have SUCH a small window of on sale time that unless it's a gold plated juggernaut, it will struggle to fill seats for all the weeks it's playing. They seem to have taken the top two levels off sale on the DMT site for the whole run and put all prices into stalls and dress, so I imagine if they did endless discount sales with all the big agents from now, it might give them enough of an audience to limp through to the end. Realistically, I think an early closure would just mean the venue went dark as the logistics of finding a show small enough to recoup and big enough to fill 6-7 weeks is not an easy one. I have to agree that I feel they will struggle to find anything that would sell well with such short notice. It does depend on the deal Mackintosh offers the incoming shows producers though.
|
|
990 posts
|
Post by nash16 on Oct 29, 2017 21:58:38 GMT
Just heard early closure to be announced v soon.
Simon Stephens tweet about seeing the show last night backing up this news. He sounds gutted.
Very sad.
Great actors, but the play is not good, and the direction from Marianne a rare misfire. Duff also over playing a v annoying character (not her fault).
What will fill it? Albion?
|
|
990 posts
|
Post by nash16 on Oct 20, 2017 23:38:44 GMT
The duration may vary with the mastication rates of the on-stage diners. They're gonna have to shovel their courses in double-time now.
|
|
990 posts
|
Post by nash16 on Oct 20, 2017 13:45:54 GMT
Running time: 1hr 20mins
(Follies drumroll) No Interval
|
|
990 posts
|
Post by nash16 on Oct 18, 2017 9:45:30 GMT
***** Broadway World, London Theatre 1 **** The Arts Desk *** Guardian, WhatsOnStage, The Stage ** Metro, The Times Rave reviews across the board for Natalie Dormer if not for the show overall. Guardian now showing as 2*
|
|
990 posts
|
Post by nash16 on Oct 15, 2017 21:17:11 GMT
Act 4 is very much the last act of Cherry Orchard and Seagull. So the maid buys the garden and then Victoria Hamilton shoots herself? Almost!! Haha!! It's a great game if you love your Chekhov to work out who is who in it.
|
|
990 posts
|
Post by nash16 on Oct 14, 2017 22:23:26 GMT
Could anyone who has seen this please comment on the changed seating configuration? Obviously it's on the website but I've never seen this layout before; in fact, I've never seen anything other than the standard seating at the Almeida, so it's hard to imagine the reason for the elongated format for this production, or how it might work in practice. Hi showgirl, The layout is traverse, so a thrust stage, as shown on the website. The stage is more like the Swan at the RSC if you've ever been up there. The front two/three rows that run alongside it, you're looking up at the stage. There are one or two raised rows behind that. The main stalls is a lot smaller as a result. I'd say some of the best views, if not THE best views, are in these rows that run alongside the stage. Everyone keeps moving for the most part, so you're never blocked, and it's great being so close. Mind you we were looking up at the Circle, especially the £10 "restricted view" slip seats, and thinking they'd be an absolute steal. Have you got your tickets yet?
|
|
990 posts
|
Post by nash16 on Oct 14, 2017 22:07:17 GMT
Wow. It's going to be a hit. And I'm already wishing it had a longer run.
Bartlett having a very obvious go at writing a Chekovian/Ayckbourn piece. For the most part it is very successful. And great fun to tick off who is playing the Konstantin, who the Masha, who the Arkadina, who the Firs, etc, etc. References to all C's big plays. Mainly The Seagull and Cherry Orchard.
Mikey is right: the second half cannot live up to the first half. It's not bad, it's just less active, and more two acts of resolutions. Act 4 is very much the last act of Cherry Orchard and Seagull.
There are some very funny lines and moments in it. And also some painfully moving moments too. The politics of Brexit and what England has become/is becoming aren't too forced, although there are some lines that clang about a bit and are a bit too obvious. The Polish maid is good, but again, a bit obvious.
I felt for nearly all of the characters. And he's given the actors such great parts, all off them.
Victoria Hamilton goes to town on her role and is equally hilarious and repugnant all at the same time at moments. But you always understand why. Helen Schlesinger is doing a wonderful Fiona Shaw impression with her body. The young actors are good (the daughter is a bit more "actory" than everyone else, but still fits the part).
The set is simple and they've stolen the tree from Jerusalem, obviously required now for any take on "England" in a play. It doesn't shake at the end though.
Anyone into potted plants, you're in for a treat come one of the scene changes. I found that moment quite moving actually as well as being uplifting.
It plays whole heartedly to it's Almeida audience as it's about a middle/upper class family. I think one of the cast is mixed race, the rest are all very white.
I already want to go back and see it again.
If anything to hear, as Foxa mentioned, Margot Leicester say "Hello" in the second half. So brilliant.
Book before Press next week, or you'll regret it.
|
|
990 posts
|
Post by nash16 on Sept 26, 2017 0:58:08 GMT
How on earth did they learn that complex choreography?
|
|
990 posts
|
Post by nash16 on Sept 23, 2017 0:52:21 GMT
Interview with Branagh in the Telegraph: www.telegraph.co.uk/theatre/playwrights/kenneth-branagh-interview-tom-hiddleston-always-honest-hamlet/amp/I am not sure if I believe this bit! 'Rather incredibly, neither he nor Hiddleston seems to have fully anticipated the demand. “I’m very, very surprised at the amount of attention it has got,” he confesses, suavely dressed in dark blue blazer and jeans, still boyish at 56. His leading man even worried there might be empty seats. “We thought we should do a ballot, because we knew he had fans, but Tom was very sweet about it and genuinely asked ‘Do you think we’ll sell out?’”' Hiddleston sold out the 250 seat Donmar across 70+ performances for Coriolanus - they added an extra week with tickets allocated by ballot at the end of the run due to the demand and did a cinema broadcast that reportedly sold 600,000 tickets, and then had an encore showing. Coriolanus is certainly more obscure than Hamlet and Josie Rourke is not a household name as a director. And that was before The Night Manager. The idea that he's seen as a cerebral rather than an emotional actor is also a bit strange. Maybe if you've only seen The Night Manager you might think that? Maybe he's read too many Gruan commenters calling him 'wooden'? Maybe he's having a crisis of confidence? You couldn't possibly think him cerebral rather than emotional if you've seen him play virtually any other part. Tom was very sweet about it and genuinely asked ‘Do you think we’ll sell out?’”' What a bell end he is. How do people still for for his/this rubbish?
|
|
990 posts
|
Post by nash16 on Sept 19, 2017 23:19:38 GMT
Name the last Ivo van Hove play to have a (regular) interval. Go!
|
|
990 posts
|
Post by nash16 on Sept 12, 2017 0:51:05 GMT
Now they're just being cruel...on an International level.
|
|
990 posts
|
Post by nash16 on Sept 9, 2017 21:46:52 GMT
Was interested when I received the weekly SP email, but reading more about the play has made me cautious: sounds a bit airy-fairy & mystical for me & as though it might have been neglected with reason, but I'd be pleased to find I was wrong. Yes, it sounds like a play the Finborough would put on, not the SP.
|
|
990 posts
|
Post by nash16 on Sept 8, 2017 14:02:52 GMT
The 18th is now a preview where previously it had been an ordinary show, maybe that's why. I'd wonder if they've decided to try moving people who'd booked non-previews to 1) not risk the wrath of people who'd booked non-previews on purpose and/or 2) not have to give partial refunds to people who paid full price and now find themselves at a preview, except if they're offering to slot you in sooner then... well, I don't even know anymore. That's an odd thing to do! They would both make sense, thank you for that. Gosh, it's a mad mess now so it is.
|
|
990 posts
|
Post by nash16 on Sept 8, 2017 13:24:14 GMT
We booked into the 18th of December but have just got an email saying we have to move.
Nowhere near Preview period, but we still have to shift??
I'm guessing it's to now accommodate the Preview bookers?
Anyone else had this?
The weird thing is they say Please give 3 dates you can make that aren't the 18th, and the selection are all earlier than our original booking date?
|
|
990 posts
|
Post by nash16 on Sept 8, 2017 0:37:02 GMT
SB is going to open at the Piccadilly in the New Year a month or so after Annie closes. Run of ETAJ will be limited, and will allow for Tamsin to do both. Not true. Nothing is confirmed yet for the Piccadilly. Annie hoping to extend. Apology accepted Daniel. Can't wait for this.
|
|
990 posts
|
Post by nash16 on Sept 6, 2017 23:25:52 GMT
Well, the critics have been starved for a while... Quite a bit of overlooking the faults going on, or is it me?
|
|
990 posts
|
Post by nash16 on Sept 2, 2017 22:05:42 GMT
For me, this play is far too clever, far too up itself and far too National Theatre. A waste of an evening. I'll avoid Lucy Kirkwood in future. I find a lot to enjoy and intrigue in most theatre but this was a mishmash of the incomprehensible and the patronising. Yes, I know that some of the acting is very good. Yawn. It's the play that's the problem. The sort I HATE. We are in agreement. My review from earlier in the run: "Oh dear. Watched this tonight and it's not good. Some sort of Nick Payne attempt to meld science and relationships, but it never unites and, more fatally, is never interesting. It's also far. too. long. Amusing dialogue at first, and Colman gets to do her full range within the 3hrs, sometimes within a scene. The audience love her and lap up every look and line. Williams is given much less, and acting wise comes across quite weak for some reason. The man playing the Swiss boyfriend has the strangest accent I've ver heard on a stage, and is also struggling with his acting. The 3 small parts are pointless and ultimately those actors are reduced to (un)glorified stage managers dragging on the different bits of set. The son was good, but one note. His storyline (they claim to be interlinked but are quite separate) started well, then drifted into nothingness. The mother character had some funny lines, but was annoying. In fact, they were all annoying. Paul Hilton is completely wasted, and speaks two long monologues away from everyone else, that ultimately lead to some crazy lighting and projections (be wowed and awed audience!) but cannot hide the fact that what he's having to speak is dull, and not linked enough to the relationship drama/sitcom. The direction by Rufus Norris is fine, the set whirs into life when the script is at its worst, trying to blind an audience with lighting and sound, but it's hard to see past the fact the script by Kirkwood is bad. Had she stuck with just the relationship drama, this might have worked. But, like Common, this script should have been edited and fixed before rehearsals began, or at the latest during rehearsals. What is the NT's fear of cutting texts before they reach a paying audience? I'm sure Duff/Colman/Williams wouldn't care if their parts were cut if it resulted in better plays. If you like Swiss jokes, and Higgs Boson/CERN jokes, and watching Colman do funny/sad/crying/drunk, and completely unbelievable events happening with no one batting an eyelid when they're resolved by the next scene, you'll enjoy it. If you like good plays, which weave subjects like science and humanity together seamlessly and ask its audience big questions whilst making you feel for all the characters, you won't find any of that in Mosquitoes."
|
|
990 posts
|
Post by nash16 on Sept 2, 2017 0:51:47 GMT
There is something seriously wrong with this world.....is all I am saying! Christ, you're right. It's also all VERY Tom Hiddleston. #vanitythynameis...
|
|
990 posts
|
Post by nash16 on Aug 31, 2017 23:45:43 GMT
Wow....didn't realise there was so much demand! Thinking aloud; will there ever have been so much full-frontal nudity in an NT Live before? And considering how these filmed performances can 'live on'...! Based on past NTLive's with nudity (thinking Frankenstein here when B & JL had to wear a weird sort of y fronts), they won't be allowed to be naked as it reduces sales to certain countries. The big schlong will be wrapped up one fears.
|
|