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Landscape with Weapons


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#11 Mikey

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Posted 05 April 2007 - 12:52 PM

QUOTE(foxford @ Apr 3 2007, 11:09 PM) View Post
It's absolutely excellent - the writing is fantastic, provocative and funny, the performances utterly engaging, and the direction extremely tight. There's nothing more intelligent and satisfying on the London stage at present.

I'm certainly not a member of the production team (or a new member) but I completely agree with foxford. I was totally engrossed by this play and thankful it approached its subject fairly without resort to the usual anti-everything diatribes so beloved of other contemporary writers/directors. It has humour, intelligence, passion, relevance, and is the best new play so far this year.

#12 Guest_Skylight_*

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Posted 30 April 2007 - 10:50 PM

I like this.  It's not as good as Blue/Orange but it's good enough.  There's some excellent acting and the relationship between the brothers is played perfectly.  There is a bit too much information for the sake of information (a pity given that Penhall is usually so character driven) and the female character is a weak link but I can't work out if that's the fault of the writer or the actress.

Pluto the front row on the far side is EE because usually there is only one side of seats (on the opposite side from row EE) and the first few rows have been taken out to make room for the stage, leaving E as the first row on that side.  The opposite side has been given double letters so that people can be directed to the correct side otherwise it would be very confusing!

#13 Theatresquirrel

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Posted 04 May 2007 - 12:46 PM

Hugely enjoyed it. Like everyone else here, the first half especially. There are so many pleasures. Penhall hugely captures what being a guy our age right now is like, and the actors and director unlock a kind of elasticity in the script so they play with words the way me and my peers do without really realising it. Too often we see plays, films, sitcoms or whatever trying to patronise us by lamely parodying our interests and behaviour today, but here I think they do it in a really winning, nuanced way.

And hurray, not just another play that tells us the bad news about Iraq that we already know, but instead holds a mirror to our take on the middle-east conflict and asks us what the f*** we think we know in our middle-class comfort zone. The conversations about ethics and ownership are dazzling, and all credit to all four actors - including Pippa Haywood who unlike some folks here I thought was wonderful - they're all really good, and make luminous light work of the occasions when they have a little jargon to recite - though in fairness to Penhall, he doesn't write big techno tracts at all, as some have implied here. Ned's speech about the robots is immensely airy and poetic and - appropriately for the character - authentically naff in some of its allusions too.

While I felt like the first half lifted me up and gave me a bemusing, refreshing view on my own kinda life, the second half does abruptly put you back where you belong, and there's no wonder that so many of us haven't found it so satisfying, because it has no good news to report; in fact, it depressed me a lot, making me feel that like Ned and Dan, there is somewhere ahead of us a great tidal wave coming backwards to meet us from the end of our lives and it's coming faster than we realised before.

I loved the evocations to Leonardo DaVinci throughout, and the way they're used to propose how much harder it is to be an idealist today. Somehow - and especially at the end - Landscape with Weapon conveys that ideals aren't passports like they might've been in the past; that believing in the right thing and knowing how to act rightly upon it isn't necessarily going to take you anywhere anymore.



#14 Alexandra

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Posted 04 May 2007 - 01:01 PM

Very enjoyable, apart from two anachronisms: when talking about intellectual property it's patent with a short "a", not a long one as if talking about leather.  And Leonardo da Vinci shouldn't be shortened to "da Vinci" (i.e. from Vinci) but to Leonardo, which is his name. I think Tom Hollander's character would have known both those facts - certainly the first.

#15 Amber Stones

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Posted 22 May 2007 - 03:47 PM

I really wasn't hugely impressed by this play. I found it rather patronising and heavy handed and Julian Rhind-Tut seemed somewhat awkward playing the solid geezer brother. Loved Pippa Heyward in this though, she should have more roles in the West End. She would have been a great Lady Driver in Donkeys' Years.




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