1,465 posts
|
Post by foxa on Feb 22, 2018 13:32:06 GMT
I haven't broken it to my husband yet how long this play is. I think I'll just let that be a fun surprise for him tonight.
|
|
1,465 posts
|
Post by foxa on Feb 22, 2018 9:04:03 GMT
Yeah - and for me it's the angry looks I get when I've dragged a companion to see something dire.
And I agree above with Xanderl - I felt I got much more of a sense of the plays just announced at Hampstead.
I'm still kicking myself for booking for one of the new season plays at the RC Downstairs - on the night for which I booked it appears they've only sold about 30 tickets - why did I rush? Fingers crossed for some brilliant casting....
|
|
1,465 posts
|
Post by foxa on Feb 21, 2018 11:32:34 GMT
We're going tomorrow £10 Row P seats - will report back.
|
|
1,465 posts
|
Post by foxa on Feb 20, 2018 9:10:22 GMT
About six months ago, I needed new trainers. I sussed out some types of trainers that I thought would do, but wasn't that fussed about a particular brand, etc. They just had to be fit for purpose, as well as fitting my very average sized feet. So I go into a local trainer shop armed with my credit card and indicate a pair of trainers in the window, asking if I could try those on. The assistant said, 'No, we don't have those in your size.' I said, well, something similar, roughly in that prize range. She couldn't suggest any alternative. A few minutes later I was on the kerb - no new trainers and a bit confused. She had made no attempt to sell me any shoes (rather the raison d'etre of a shoe shop) and really couldn't care less if I bought anything from then or ever again, despite my obvious intention to make a purchase.
I like and have a long loyalty to the Royal Court (as I said before usually try to buy at least a couple of tickets each booking period.) Sometimes there is something that sounds pretty surefire and sometimes there is something quirky or challenging that sounds appealing. This time, I went on, credit card in hand and really found it difficult to tell, from the information provided, if there was anything that wouldn't be a bad fit. I almost went away with no tickets (a bit like when I left the store with no trainers) but then ended up booking for two shows, one of which I almost immediately regretted as it is selling so poorly, I reckon there will cheap deals. A quick flick yesterday through a few random dates indicates that the Downstairs shows aren't selling very well at all (upstairs is busier.)
Now, I think the people who run the Royal Court are clever, so I am wondering if they have some aces up their sleeves. The announcement of the casting of Carey Mulligan was quite late, so I could feel smug about having taken a punt on tickets for Girls & Boys solely on Dennis Kelly's name, with Mulligan as a pleasant surprise.
But if a number of fairly adventurous theatre-goers are finding the description of the current season uninspiring, I wonder if they are getting it right....
|
|
1,465 posts
|
Post by foxa on Feb 18, 2018 12:20:41 GMT
Yes - that's true. From the description of 'Pity' I rather thought it might not be:
“Two bombs in one day is a foul coincidence” “Don’t forget the lightning strike”
A normal day.
A person stands in the market square watching the world go by.
What happens next verges on the ridiculous.
There’s ice cream. Sunshine. Shops. Some dogs. A wedding. Bombs. Candles. Blood. Lightning. Sandwiches. Snipers. Looting. Gunshots. Babies. Actors. Azaleas. Famine. Fountains. Statues. Atrocities.
And tanks. (Probably).
Rory Mullarkey’s new play asks whether things really are getting worse. And if we care.
“[Someone screaming]: AAAAAAAAAAAAAAHHHHHHHH”
* That really is it.
** I think we should have a parody blurb contest.
Mine might end:
'Woman: Huh?'
|
|
1,465 posts
|
Post by foxa on Feb 16, 2018 11:58:19 GMT
Help me out here, it all looks very grim. Anything I should get excited about? I wonder what the future will make of us when they look at this raft of plays. I did find booking for season a bit difficult. I always like to see a couple of things in any given Royal Court Season but reading the blurbs for these made it hard to get a sense of what I was letting myself in for - and it was complicated by one or two of the writers or directors being associated in my mind with some pretty grim evenings in the theatre. One of the pieces also sounded like an advanced A level piece (and I've sat through enough of those in my time.) However, once casting is announced or a bit more about the plays, I may be kicking myself that I didn't book for more.
|
|
1,465 posts
|
Post by foxa on Feb 16, 2018 10:25:40 GMT
Public booking is now open - and seems very calm.
I booked for two shows - The Cane (Ravenhill) and Instructions for Correct Assembly and may book later for debbie tucker green's piece.
|
|
1,465 posts
|
Post by foxa on Feb 12, 2018 14:17:26 GMT
;-) It might be the latex, or globophobia - or I suppose they could suddenly pop, so loud bangs?
|
|
1,465 posts
|
Post by foxa on Feb 11, 2018 20:01:21 GMT
Where were your seats in the Circle, foxa? I am seeing it tomorrow night and I am in seat C4 which is slightly round to the side but not into the slips. Worried that my view might be compromised by being further round. On the aisle of the centre section - so not slips but far to the stage right side. It didn't spoil my evening, but I was looking at long sections by ducking my head down so I could see her through a rectangle of safety bars, so not ideal - usually more of the stage would be used so the restriction wouldn't matter so much. In a follow up email, we were asked for opinions about whether or not we knew enough about the subject beforehand (I think they were trying to feel out if we thought TWs were necessary.) It's tricky for a theatre because too many warnings could make it less interesting/suspenseful.
|
|
1,465 posts
|
Post by foxa on Feb 11, 2018 18:36:26 GMT
We were in Row B of the circle - same seats where we saw The Ferryman and they were fine for that. But for a one person show where the character stands centre stage 90% of the time, the raised bar which slightly restricts the view was a little more of an issue. Can't comment on first row, Theatrebass, - but Carey Mulligan's performance is exquisite and I would think the closer you could be the better.
We came away having found this a bit of a mixed bag. Wonderful to see an actor as resourceful, intelligent and nuanced as Mulligan giving such a rich, varied performance. Sections of the writing are wonderful - loved the description of a crowd waiting at an airport and another section describing a job interview. And yet .....the ending felt like a lecture or infomercial. There is a section where she repeats some physical actions (don't want to give too much away about this) and there is a revelation about these actions which I think should have been more of a theatrical coup than it turned out to be.
But I bought the script, have thought about the play a lot today and am very glad to have seen it.
|
|
1,465 posts
|
Post by foxa on Feb 8, 2018 10:15:58 GMT
Just a reminder that it is standard level members booking today from 10 a.m. Very straightforward - I was on in about 5 minutes. Pretty good availability for the shows.
|
|
1,465 posts
|
Post by foxa on Feb 3, 2018 21:16:25 GMT
Thanks so much for describing that baladorn - it sounds like a lot of thought went into how to make it work for the restaurant/the show/the audience. The night I went (Tuesday) I thought the diners looked smart and were dressed so that they didn't distract. As someone in the audience, having the people on stage worked much better than I expected and there was a real frisson when the Dockery/Henshall scene moved from outside to the restaurant.
|
|
1,465 posts
|
Post by foxa on Feb 3, 2018 16:50:51 GMT
Using U.S. politics as an easy theatrical trope in British productions gets on my nerves a bit - not because I'm not highly critical of (fill in the blank) but because it just seems lazy and pantomime-ish (sp?). There were a number of productions that would use George W. Bush to provoke a similar reaction (for example,the Complicite's Measure for Measure.) The recent 'Julius Caesar' at the Bridge uses a lot of Trump imagery (the red tie, the red hats, a poster with Caesar styled very similarly to Trump) but as someone else pointed out, perhaps comparisons with Corbyn would have been better/more relevant (a U.S. production of Julius Caesar went further with the Trump comparison and there were threats to the theatre's funding.) The night I went to see 'Network' someone loudly cheered when the image of (controversial U.S. president) was shown - - perhaps ironically, perhaps sincerely, who knows? If they want to confront the audience's beliefs - wouldn't it be more honest to present British politicians (I suppose they would say that Network was set in the U.S. but then they showed presidents far beyond the time period of the production.) I didn't think the montage added.
But overall I was really grabbed by the production. The use of videos was exciting, some terrific performances - it felt like real event theatre. Anyone who did the restaurant option - were you given any special guidance? It looked to me like everyone was wearing dark clothes, for example.
|
|
1,465 posts
|
Post by foxa on Feb 1, 2018 11:50:13 GMT
I think it looks like an exciting season and will book for all of them, if I can. I've never seen Machinal but have wanted to as it is such an unusual play (and bit of trivia for you - featured Clark Gable in his Broadway debut.) My fingers may slightly pause over the keyboard for 'The Writer' as 'Oil' which I don't remember being the success they describe - it was all over the place - not in a good way, was written by the same playwright - but then again - it was hugely ambitious, so, probably worth a punt.
|
|
1,465 posts
|
Post by foxa on Jan 28, 2018 11:55:21 GMT
In terms of seats - I had a restricted view seat in the Circle, N11, for £26 and thought it was okay. Missed a little bit far stage left, but not enough that I thought it was bad value. There were a number of empty seats - perhaps 30 or so, including some of those which would have the most restricted view (side to the stage in the circle.) Also quite a few available in the last row in the pit.
|
|
1,465 posts
|
Post by foxa on Jan 24, 2018 19:06:22 GMT
I saw this last night and am still gathering my thoughts. I LOVED 'The Flick' - it was one of my top plays of last year so went with really high expectations of this. Parts of 'John' were terrific and others were...okay. For me, I suppose the difference between 'The Flick' and 'John' was that I felt such empathy/sympathy for the central trio in 'The Flick' - and ultimately found the play contained that almost impossible combination of realism and hope. I adored it.
I loved the setting of 'John' - just terrific - and the odd B&B owner played my Marylouise Burke was fascinating - she and it reminded me of a strange B&B we stayed in years ago in Salem, MA - eerie, fussy, otherworldly and yet ordinary. But the central pair didn't engage me - I didn't particularly care about their relationship. The sources of their disagreements were believable but mundane - a bit like a friend relating a bad relationship they have - 'Is she lying to me?' 'Am I annoying her?'
I'd give it 4* - though I think Annie Baker is a 5* writer - just not this time.
|
|
1,465 posts
|
Post by foxa on Jan 11, 2018 15:21:14 GMT
Quick note for tall people - G40 in the Royal Circle is the seat for you! No seat in front of you at all for some reason so plenty of leg room. Even TM would approve. Great view generally from Row G - we had been moved from Row L at a cancelled preview, so were very pleased with these seats. Had a great time, but am having a hard time gathering my thoughts about it - I can understand why people go back again and again - so much to take in.
|
|
1,465 posts
|
Post by foxa on Jan 9, 2018 10:39:39 GMT
Okay, I have an embarrassing admission here. I did no research at all just saw the title, Penelope Wilton's name and that I could get two £10 tickets in Row P for Thursday night so bought them, thinking my husband is a history buff, he'll like something historical. Yes, I'd confused Nicholas and Alexandra the film about the Tsar of Russia with Fanny and Alexander....This may be a harder sell to him. Still....Penelope Wilton.
|
|
1,465 posts
|
Post by foxa on Jan 8, 2018 19:19:48 GMT
I love the Royal Court- Downstairs the seats are the best, the bar area is fine; toilets okay, front of house pleasant, good free cloakroom; bookshop to browse in.
The stalls seat at Stratford East are comfortable, well-raked good legroom. There is a roomy bar/restaurant though it was a bit off last time we went (half of the menu not being served, service decidedly odd and careless.)
|
|
1,465 posts
|
Post by foxa on Jan 5, 2018 9:08:23 GMT
This was sold out last night including standing room. Fairly early on - not long after the shirt removal scene referenced above by Ryan - there was a bit of a kerfuffle and two people left. It seemed a bit strange - someone wondered if they'd been caught taking photos. We liked this - Norton and Poots give terrific performances and your sympathies shift between them. The landlord and his wife add a lot to the tension of the piece. There were some genuinely frightening moments. However there was one plot point I found jarring. {Spoiler - click to view} Could she really not know that he hadn't qualified as a doctor? I would very much recommend this - it really suits the intimacy of the Donmar - and, to me, at least, is much better than some of the lukewarm reviews suggested. It's one of those plays that you are discussing and unpacking for a long time afterwards.
|
|
1,465 posts
|
Post by foxa on Jan 1, 2018 11:46:54 GMT
I think it's an interesting exercise - the problem though (to me) is that these things often hark back to a supposed golden age (as we do on this forum, frequently, when bemoaning a theatre that we think has gone off in some way.) I get a bit weary of the 'Oh, the Liverpool Everyman in the 70s was wonderful and we loved eating boiled eggs' - just because how could that possibly be recreated in a way that wouldn't seem as phony as anything now? Theatre will change and evolve. And I was surprised he was so down on site specific theatre, which I often enjoy, but I (like Lynette above) like the idea of a writers' room - and the feeling that everyone in the theatre had a stake in the success of what occurs in the building/onstage.
In case, anyone wants to make a proposal for their own ideal theatre, his headings are (the order amused me - actors and audience are very low on the list):
Location
Playing space
Size
Policy
Staffing
The state
Touring
School
Playwrights
Workshop/Readings
Actors
Audience
Site Specific
Critics
Restaurants/Bars
Effect
|
|
1,465 posts
|
Post by foxa on Jan 1, 2018 0:36:50 GMT
Wishing everyone a wonderful 2018 replete with plenty of legroom and just enough bad behaviour to keep things interesting.
XXX
|
|
1,465 posts
|
Post by foxa on Dec 29, 2017 23:09:18 GMT
I think it's better - less like entries in a slam book.
|
|
1,465 posts
|
Post by foxa on Dec 29, 2017 22:59:47 GMT
??
|
|
1,465 posts
|
Post by foxa on Dec 29, 2017 18:33:20 GMT
Can't wait to get started on this! I read a bit about the episode directed by Jodie Foster and am really excited to see that.
|
|