Jump to content


James Mcavoy - Macbeth At Trafalgar Studios


  • Please log in to reply
224 replies to this topic

#31 Latecomer

Latecomer

    Advanced Member

  • Full Members
  • PipPipPip
  • 1664 posts
  • Gender:Female
  • Location:Oxford

Posted 14 December 2012 - 05:28 PM

Two words....."Polar Bears"


Was not actually that impressed by She Stoops or Inadmissible Evidence either. She Stoops was ok. I though he missed a trick with I.E. Started off all surreal and weird and then became Hodge just getting louder and louder and wilder and wilder. Would have liked to see what another director did with the same ingredients! <_<

#32 Honoured Guest

Honoured Guest

    Dis Member

  • Full Members
  • PipPipPip
  • 2521 posts
  • Gender:Not Telling

Posted 14 December 2012 - 06:29 PM

View PostNicholas, on 14 December 2012 - 05:15 PM, said:

His Cyrano, with Hodge, on Broadway got rave reviews, and I can imagine that being his sort of show.  Given that there was talk about that transferring briefly before Charlie, I wonder if that'll be one of the other three plays in Lloyd's little season, but somehow I doubt it.

Jamie Lloyd said: “I am thrilled to announce the first production for Trafalgar Transformed - a season of politically-charged power plays on the doorstep of Whitehall, accompanied by a festival of platform events, discussions and readings."

Cyrano de Bergerac is hardly a politically-charged power play.

#33 Pharaoh's number 2

Pharaoh's number 2

    Advanced Member

  • Full Members
  • PipPipPip
  • 3745 posts
  • Gender:Male
  • Location:London

Posted 14 December 2012 - 08:04 PM

Jamie Lloyd's productions of plays I've not been that impressed with, though he did a nice job of The Faith Machine at the RC, considering the play itself still needed work. His musicals however have been outstanding. I doubt his production of Sondheim's Passion at the Donmar will be matched, and when he did Spelling Bee, he judged it just right.



#34 Lynette

Lynette

    Advanced Member

  • Global Moderators
  • PipPipPip
  • 5136 posts
  • Gender:Female
  • Location:London

Posted 15 December 2012 - 12:53 PM

View PostLatecomer, on 14 December 2012 - 05:28 PM, said:

Two words....."Polar Bears"


Was not actually that impressed by She Stoops or Inadmissible Evidence either. She Stoops was ok. I though he missed a trick with I.E. Started off all surreal and weird and then became Hodge just getting louder and louder and wilder and wilder. Would have liked to see what another director did with the same ingredients! <_<

Yep, yep and yep.

#35 Epicoene

Epicoene

    Advanced Member

  • Full Members
  • PipPipPip
  • 1237 posts

Posted 15 December 2012 - 01:36 PM

View PostHonoured Guest, on 14 December 2012 - 05:14 PM, said:

Perhaps because his productions don't have a recognisable signature, general audiences can't identify his achievements. The same applies to many highly rated actors who presumably are a dream to work with, in rehearsal and performance, but who don't stand out in a way which is noticeable to the general public.

Well, if it is not noticeable to the general public then it is of limited value isn't it ? I'd say his productions do have a recognisable signature, they copy the aproach and style of more successful directors, She Stoops might as well have been directed by Nicholas Hytner rather than the ersatz version Lloyd served up.  Malfi was also a rehash of various directorial conceits that were not his own, he is just not innovative at all.

#36 Honoured Guest

Honoured Guest

    Dis Member

  • Full Members
  • PipPipPip
  • 2521 posts
  • Gender:Not Telling

Posted 15 December 2012 - 01:53 PM

View PostEpicoene, on 15 December 2012 - 01:36 PM, said:

Well, if it is not noticeable to the general public then it is of limited value isn't it ?

I think the opposite. If you fully explore a text in rehearsal, the audience won't have a clue about the process that produced the presented production and the director won't have limited the outcome at the outset by predetermining a signature approach. However if you always adopt a signature approach, then that is apparent.

#37 Ruperto

Ruperto

    Member

  • Full Members
  • PipPip
  • 27 posts

Posted 24 December 2012 - 03:43 PM

Looks like quite a few extra tickets have gone on sale - annoyingly, including row A (which deffo wasn't on offer when I booked as soon as they went on sale) and row B (ditto I think) for all nights. However, a good chunk of them are premium seats.

It looks like one or two extra performances may have been added too - at least one night in March has loads of tickets, including plenty of the 'cheap' seats at the back...

#38 Beth

Beth

    Advanced Member

  • Full Members
  • PipPipPip
  • 162 posts
  • Gender:Female

Posted 24 December 2012 - 07:55 PM

View PostRuperto, on 24 December 2012 - 03:43 PM, said:

Looks like quite a few extra tickets have gone on sale - annoyingly, including row A (which deffo wasn't on offer when I booked as soon as they went on sale) and row B (ditto I think) for all nights. However, a good chunk of them are premium seats.

It looks like one or two extra performances may have been added too - at least one night in March has loads of tickets, including plenty of the 'cheap' seats at the back...

Thanks for the heads up!  I was waiting for row A to go on sale!

#39 harrythered

harrythered

    Newbie

  • Members
  • Pip
  • 2 posts

Posted 25 December 2012 - 02:14 PM

View PostPharaoh, on 14 December 2012 - 08:04 PM, said:

Jamie Lloyd's productions of plays I've not been that impressed with, though he did a nice job of The Faith Machine at the RC, considering the play itself still needed work. His musicals however have been outstanding. I doubt his production of Sondheim's Passion at the Donmar will be matched, and when he did Spelling Bee, he judged it just right.

then i guess its to do with the quality of his collaborators, and the venue too maybe?

#40 jaqs

jaqs

    Advanced Member

  • Full Members
  • PipPipPip
  • 893 posts

Posted 01 February 2013 - 10:08 AM

After a little effort managed to get a monday £15 seat, couldnt get the 18th kept saying invalid date but the 25th worked fine. Mostly outer edges available and a few on stage seats, front and back rows too.
Terrific deal.




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users