The Drowned ManPunchdrunk
Posted 24 June 2013 - 08:16 PM
One really depressing thing about this country is the tendency of people to want to dismiss the old in favour of the new in a way that tries to denigrate the old, in order to promote the new. Often musicians, writers, theatre companies are doing better and better work, having gained experience, but the 'taste formers' decide it's time to cut them down and promote something else. We have writers who get a new play produced and then, a few plays later, they are attacked/forgotten for doing the same things that they had been praised for. Ennui is rife, nothing is worth sticking with beyond the second or third release/production etc. You get a number of critics who do this too.
Posted 24 June 2013 - 09:44 PM
Posted 24 June 2013 - 10:17 PM
Think of it as wealth redistribution.
There is no mechanism for a person older than 26 and in employment to get a ticket cheaper than £47.50 (after press night). Even the most commercial of west end theatres have plenty of such options. So it sounds like an excuse rather than wealth redistribution. And it leaves a sour taste, especially since the £85 tickets gives you access to extra content. Which is either important, or dead weight, it can't be both. Either way, someone is cheated.
Posted 24 June 2013 - 10:18 PM
I'd be interested to know what happened in the shop in Dalston though.
Posted 24 June 2013 - 10:59 PM
I asked my question in a neutral way, without giving an opinion, which I can't because I've only attended The Duchess of Malfi.
Are you implying that you think Punchdrunk is " doing better and better work, having gained experience"? I'm sure that's right, but my question is whether they are now experimenting better or perfecting the same experiment? And, if the latter, are you quite content with that, or would you be more interested to see them do something a bit diferernt next time?
Your "tips", such as following the most interesting performer as they exit, strike me as very close to "spoon feeding". If you've now cultivated an unfailing set of audience techniques which can be used to best appreciate each and every Punchdrunk mega-show, but which aren't communicated to the general audience, then it seems to me that you are unfairly in a priveleged position vis-a-vis your fellow audience members and that the company's original features of experimentalism and discovery have been exhausted.
I repeat, I'm asking questions, not giving my assessment. I've read that the Punchdrunk core members, while studying at Exeter University, studied the work of Brith Gof which was a theatre company which continually morphed and refreshed itself.
Posted 24 June 2013 - 11:28 PM
Malfi was a compromise that could have been better, they used the wrong space, they had to adapt it at the last minute, it had music which militated against understanding. Finale was great though and the lead was stunningly good.
I don't mind trying to give information to those that want it, just that I prefer the sleuthing myself. In the end that's one of many ways of approaching it, I went with a colleague to Faust who was an artist and who went around sitting down and sketching sets and scenes, that way would have driven me crazy but they really liked doing it!
I hope people don't take what I've written as 'the way to do it', I specifically said that it was a way that helped me and that it might help someone who was a bit lost.
I repeat, please, please do it your own way in the end!
Posted 26 June 2013 - 07:45 PM
Oh well, it's what you risk when booking early previews. Can exchange tickets for later at preview prices though.
EDIT: 24 hours later managed to get in, more spoilers in that thread with one find that I was particularly pleased to spot.
Posted 29 June 2013 - 05:59 PM
Posted 29 June 2013 - 06:10 PM
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