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Julius Caesar - Another Bladder Buster?


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#91 DanielWhit

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Posted 23 January 2013 - 12:56 PM

Any idea what the Donmar's return policy is like? I've got a single ticket for next Thursday (31st) matinee which I can't make.

#92 Pharaoh's number 2

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Posted 23 January 2013 - 02:19 PM

If you return it early enough (and I've done so a week in advance with a single, but for a Sat mat), they'll refund you immediately as they know they can sell it on. Otherwise I guess it's the usual; return it and if they sell it, you get your money back.



#93 zyx123

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Posted 23 January 2013 - 03:00 PM

I returned a single £10 front row ticket about 4 hours before a matinee and they didn't sell it. So I would return it as early as possible,

#94 DanielWhit

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Posted 25 January 2013 - 03:35 AM

I was in town today so returned it, cash is going back onto the card. Works for me :)

#95 Honoured Guest

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Posted 26 January 2013 - 12:07 PM

http://www.guardian....die?INTCMP=SRCH

Caesar Must Die, a documentary drama film in which real inmates of a high security prison rehearse to perform Julius Caesar, won the main prize, the Golden Bear, at the last Berlin Film Festival. It's directed by veterans Paolo and Vittorio Taviani, best known for Padre Padrone. My local cinema has scheduled it to show for the first week of March so maybe it's on release soon.  I'm excited! Has Phyllida Lloyd given this as an inspiration for her Donmar show?

#96 Duncan

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Posted 26 January 2013 - 10:48 PM

View PostHonoured Guest, on 26 January 2013 - 12:07 PM, said:

http://www.guardian....die?INTCMP=SRCH

Caesar Must Die, a documentary drama film in which real inmates of a high security prison rehearse to perform Julius Caesar, won the main prize, the Golden Bear, at the last Berlin Film Festival. It's directed by veterans Paolo and Vittorio Taviani, best known for Padre Padrone. My local cinema has scheduled it to show for the first week of March so maybe it's on release soon.  I'm excited! Has Phyllida Lloyd given this as an inspiration for her Donmar show?

They workshopped the play with inmates at Holloway, who came up with the bleach death idea. It's all in the TheatreVoice interview with Phyllida Lloyd:

http://www.theatrevo...r/#.UQRdLmczJ8E

There are are also two ex-offenders in the cast.

#97 xanderl

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Posted 27 January 2013 - 09:17 AM

That's the sort of info that would be nice to have in the programme, rather than the article about Rome by Robert Harris.

Anyway, enjoyed this a lot. Found it odd at first that the prison framing only really started breaking into the play towards the end, but then I guess it made sense in the context of Rome falling apart after Caesar's death.

A few empty front row seats. I was musing on the fact the sightlines seemed worse than normal, possibly the seats are a different height. Then realised I'd unintentionally downgraded myself as I'd booked row C of the stalls and was sitting in row D. Oddly the corresponding seat in D was empty! Realised this too late to swap to my proper seat! :ph34r:
"witty ... both made me laugh but also gave me pause" - Mark Shenton, The Stage

#98 Duncan

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Posted 27 January 2013 - 12:23 PM

View Postxanderl, on 27 January 2013 - 09:17 AM, said:

Anyway, enjoyed this a lot. Found it odd at first that the prison framing only really started breaking into the play towards the end, but then I guess it made sense in the context of Rome falling apart after Caesar's death.

The production presents the action of the play as the enactment of two projects: the project of the conspirators within the play to free themselves of Caesar, and the project of the prison inmates to seize some freedom by staging the play.

The genius of the production is that it shows the failure of the conspirators' project in the notional second half infecting the prisoners' project to the point of near collapse.

The two projects melt into one: a prisoner is taken out for her meds and her replacement, playing Cinna the Poet, becomes the victim of excessive violence thereby sharing the fate of her character. If the second half of the play is about Caesar directing events beyond the grave, then we see that literally happening as Frances Barber steps out from the shadows to restart the performance "Let's go from that last kick".

Brutus' frustration becomes Harriet Walter's prisoner's frustration at the amateurism of her fellow performers as she breaks out of character to swear profusely.

The effect is to increase our emotional involvement with the second half as we are tuned into two stories at once, one inside and one outside the world of the original play.

#99 Nicholas

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Posted 03 February 2013 - 12:51 AM

I was really astonished by this.  Firstly, the cast is just incredible, and were there an award for ensemble I can't think of a more deserving lot.  Frances Barber, who at the beginning I thought I wouldn't like, was brilliant, Harriet Walter equally superb and Cush Jumbo felt like a definitive Marc Antony.  More importantly, I can't remember being so engaged in a production in yonks.  It was gripping as a thriller, haunting, slightly mystifying.  The conceit of putting it in a women's prison turned out to be genius, in ways people here have more eloquently said than I could - importantly, the story of the prisoners correlates, if not completely matches, the story of the Shakespeare, which gives both stories more depth.  I adored Frances Barber literally casting a shadow over the events after her death.  Other tiny details worked a treat - I went with my parents, who both thought that perhaps the Irish accent hinted at something there with regards to that crime, for example.  I'd quite like to read Phylida Lloyd's notes on the production, because I could imagine they'd be worth analysis in themselves and there's much I missed.

Afterwards, I couldn't help but compare it to the Rickson Hamlet I absolutely hated.  With that, I felt the points that he and Sheen were trying to make and the points Shakespeare were trying to make were at odds with each other, which meant Rickson said nothing about institutionalisation and mental illness and Shakespeare said nothing about the Dane and three hours of my life were down the drain (if memory serves, wasn't it even longer?).  With this, it was a perfect marriage, and both explorations of violence, influence and power spoke clearer than ever, and for the next week I know I'll keep picking up on more.  The highest praise I can offer this is that I completely forgive Lloyd for inflicting Pierce Brosnan's singing on us.  Haunting and remarkable, five stars.

#100 Latecomer

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Posted 03 February 2013 - 09:38 AM

Saw this twice, and really enjoyed it both times. Above people have said most intelligent comments but would also like to add that the physical details are very clever...people keep popping up when you least expect it and the second time around it still surprised me! Lots of costume changes as all the hullabaloo is going on but the cast manages it brilliantly and never once did I "see the join" or have the magic spoilt!
Very fine production that I will remember for a long time. B)




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