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Nicholas

Member Since 24 Sep 2012
Offline Last Active Apr 16 2014 12:42 AM
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#296137 Olivier Award Nomination Predictions 2014

Posted Pharaoh's number 2 on 10 March 2014 - 09:51 PM

View PostNicholas, on 10 March 2014 - 06:17 PM, said:

Actor – Hiddleston and Law, really?  Law was fine, Hiddleston alright at best, neither deserve to collect an award...  Was Alex Jennings not eligible, because to play someone like Alan Bennett’s an indomitable challenge which he met extraordinarily.  

Untold Stories was considered by the panel.

View PostNicholas, on 10 March 2014 - 06:17 PM, said:

She was good enough, I suppose…  I’m guessing Lisa Dwan was ineligible.

Didn't play 30 perfs, even across the Royal Court and Duchess

View PostNicholas, on 10 March 2014 - 06:17 PM, said:

Someone said St James was, so Olivia Williams being ignored is very bad.

The St James is eligible so Scenes from a Marriage would've been considered.

View PostNicholas, on 10 March 2014 - 06:17 PM, said:

New play – again, Bennett not eligible?
I think - though am not 100% sure - that Untold Stories was viewed as a new play (or at least Cocktail Sticks was). Why it wasn't nominated I don't know....

View PostNicholas, on 10 March 2014 - 06:17 PM, said:

Who chose this bonkers list?

The Olivier Panel (9 public plus 5 industry professionals) and the 100+ voters I think. I believe SOLT members vote on the nominations (from a longlist drawn up by the panel) as well as on the winners. But they keep changing things around, so it may be different this year.


#295672 Blithe Spirit, Gielgud Theatre

Posted GraceA on 07 March 2014 - 06:48 PM

Her name is Galina Konovalova. She's 97-year-old and still performs in 6 of Vakhtangov's productions.

Then there is Russian stage and screen legend  Vladimir Zeldin, who at 99 is still playing the lead in Man of La Mancha.
What is equally amazing is that he looks about 70, not more.

Posted Image


Here's hoping Dame Angela will celebrate her 100th Birthday on stage.


#295637 Blithe Spirit, Gielgud Theatre

Posted mallardo on 07 March 2014 - 03:54 PM

I recall from some corner of theatre trivia that Dame Sybil Thorndyke appeared in the West End with her husband Lewis Casson when she was in her upper 80s and he was over 90.  I think it might have been Arsenic and Old Lace.

A performance I actually saw - on Broadway - of Larry Gelbart's Sly Fox included the 90-something Irwin Corey, better known in the US as Professor Irwin Corey, a double talk comedian of some repute, and he was hilarious - one of the highlights of the evening. It seems that timing is one thing you never lose.


#293974 Unexpected Moments!

Posted craftymiss on 23 February 2014 - 10:21 PM

View PostNicholas, on 23 February 2014 - 12:19 PM, said:



We went to see My Fair Lady, and Martine McCutcheon was on.

That must have been the night I was there too. That very night someone collapsed in the row behind me, I blame it on MM actually being on


#290942 Dating A Musical Theatre Lover...

Posted mallardo on 29 January 2014 - 08:21 AM

Guys, we'll just have to get together some time and sort out who we really are.  Drinks are on me.


#291104 Coriolanus

Posted popcultureboy on 30 January 2014 - 09:33 AM

Quote

And oh lordy lord the chairs… The second half was infinitely better than the first and that’s because even though the disparity in styles hadn’t gelled entirely there was much less chair tossing to interfere with the Shakespeare

This x 1000. It felt a bit like Rourke went "I've got Gatiss, Findlay and more importantly, Hiddleston. What else do I need to do? Not much, really". Not to say I didn't enjoy it, but I did so because of those performances. In the hands of a different cast, this would have been torture.


#290871 Coriolanus

Posted Honoured Guest on 28 January 2014 - 05:10 PM

Take a flask.


#290823 Coriolanus

Posted Pharaoh's number 2 on 28 January 2014 - 01:54 PM

I've not dayseated this, but I've walked past the Donmar enough times during the run (even at 7am, en route to another dayseat queue!) to say that 7am is definitely too late. If I were you, I would go to the box office later in the day and try and nab a return. It may involve sitting in a queue for a while (warm, though, since it's in the adjacent shopping centre) but it's your best bet - you may even end up with a seat, rather than standing spot - and if you aren't lucky, there are lots of theatres nearby (some with 8pm start times) which you can run over to so that your trip is not entirely wasted. Good luck :)


#290551 Rickson Mulling Mojo Revival

Posted Pharaoh's number 2 on 25 January 2014 - 08:37 PM

Rickson was sat in front of me at the last night of Protest Song, starring "that man from the National".

Your story, Latecomer, reminds me of when I was at Arturo Ui and sat next to me was Dame Eileen Atkins. We had the most wonderful conversation during the interval, discussing Brecht, new writing and theatre criticism. I felt very lucky!


#290546 Rickson Mulling Mojo Revival

Posted Latecomer on 25 January 2014 - 08:11 PM

So, enjoyed visiting this again today. Nice seat, front row of the circle.

As usual the excitement of being there got the better of me and I told the people next to me that it was my second time seeing the production, as I had loved it so much the first time. I told them it was fantastic and they were in for a real treat. I also generously advised them that it was quite hard to follow the dialogue for the first 5 minutes but not to worry, it was just like tuning in to Shakespeare and one soon tuned in and got relaxed into the flow.....the one next to me then sat making notes throughout the play.....yes, it was the director, Ian Rickson. After I had made some comment at the end (about how good it was that the tragedy was preceded by humour- it made it more shocking) he introduced himself (oh, I thought, that's why he was scribbling throughout) and I did that incoherent thing where I made absolutely no sense.....I may have said "oh and you are that man from the National" to his companion Rhys Ifans...he chuckled a bit. I ran away....

Oh dear......

Still, can now claim to have shaken the hand of Ian Rickson even if he now thinks I am mad as a hatter....

And all the things I could have said...about Jerusalem, The River, Old Times etc etc

The play was in excellent shape, by the way.




#289234 Not I, Footfalls, Rockaby

Posted steveatplays on 11 January 2014 - 09:56 PM

This is strange, lonely, and very very dark. Literally and metaphorically.

This doesn't feel like three plays by Samuel Beckett, but one play. One, one hour, one woman play.

In "Not I," the lights go out in the Royal Court main space and it's pitch black. The crack beneath my feet, which earlier emitted a sliver of light from a room below now emits no light. A floating mouth appears, teeth glistening white, as if lit from inside the mouth. The mouth jabbers at a furious pace, a female mouth, Irish accent, an irridescent firefly mouth, flying forwards and backwards and sideways. The mouth speaks so fast and furiously I can't follow a train of thought, but the speech is circular, returning to guilt and trauma, fury and religion. And then the firefly vanishes and I hear only a howling wind, perhaps in a tunnel.

In "Footfalls," a dimly lit woman shrouded in white paces from centre stage to right and back again, speaking to her unseen mother. The themes, the guilt, the traumas and ghosts, sound like they are the same concerns of the disembodied mouth. The ghostly woman in white lip-syncs the disembodied mother's voice, eventually taking over from the mother entirely. The mother's voice is Dwan's voice, the ghost is talking to herself. A bell continually tolls to restart the ghostly pacing, but at the end, when the bell tolls, the woman is gone.

In "Rockaby," the woman is now in dressed in black. She mostly listens to her own disembodied voice as she rocks. Her concerns are similar to the concerns of the electric mouth and the woman in white before, except she's slowing down until. . .

This is a compelling and very strange night of theatre. Almostly completely dark, it's like your own lonely soul seeking to tie up some loose end at the bitter end of life and beyond. This play feels like dying.

Lisa Dwan is remarkable, when you see her and when you don't. You won't get much of a plot from this, and you make of the monologues whatever you will, but this felt very unique and different, lonely and dark. Knowing that Beckett did some of this with Billie Whitelaw at the Royal Court only made this feel even more haunting. 5 stars.





#289176 The Duchess Of Malfi (Gemma Arterton)

Posted Alexandra on 11 January 2014 - 08:54 AM

But did you like it?

Glad I got tickets now, nearly didn't. It's not as if it'll transfer (or that the experience would be similar if it did).


#288274 Carly Rae Jepsen On Broadway

Posted Ryan on 03 January 2014 - 09:37 AM

You could call her maybe?


#288196 Bad Behaviour At A Show

Posted Duncan on 01 January 2014 - 10:41 PM

I was at Les Mis the other night when a rather tweedy looking man, who seemed to be accompanying his parents and obviously not enjoying himself, actually got out his phone and made a call right in front of me during the performance!

Will this inconsiderate behaviour ever stop? :P


#287850 Knock 'em All Down ?

Posted Mrs Lovett's Meat Pie on 29 December 2013 - 12:42 AM

Knock down any theatre where u there is less than 70% visibility of the stage from the cheap seats, I say.