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Member Since 12 Feb 2008
Offline Last Active Yesterday, 09:15 PM

#301788 The Importance Of Being Earnest.

Posted Lynette on Yesterday, 05:07 PM

Bonkers. Why don't they say what it is. If it is as funny as we are surmising here, it could be a hoot. But I'm not booking til I know.

#301462 The Crucible, The Old Vic

Posted Beth on 20 April 2014 - 08:22 PM

Thanks for the details, Latecomer!

#301316 The Silver Tassie- National Theatre

Posted Nicholas on 20 April 2014 - 12:26 AM

I wasn’t so keen on this either, but stuck it out to the end.  To me it felt like four acts that crashed into each other rather than a four act play.  Act One is a leftover from Howard Davies' staging of Juno and the Paycock, Act Two is Oh'Casey What a Lovely War (and were you to cut this act the plot (well, what plot there is) would be unaffected (though it’s an interestingly bizarre way of conveying the madness of war)), Act Three is a very serious piece about Army Hospitals which is for me the first time any emotional connection is attempted, and Act Four is a bit about Post-war life and PTSD that tries to round up the plot.  There’s a joke in Act Four about the telephone, where no-one can use it.  It comes to nothing, it goes on for five minutes, it’s not funny (some people did laugh, but few) and it doesn’t advance things a jot.  There are too many moments like that, that just come, don’t do anything, and go.  If you wanted to be cruel, you could call most of Act One and all of Act Two such moments.  The tableau at the end, which should have and could have been haunting, didn’t work for me - like so much in this play, it worked in its own little context but not in the context of this strange four-acter, and what it said about war it said on its own, without the need for the rest of the play.  Act Two was my favourite act simply as it was a strange standalone scene with good staging and songs.  No idea how it might offend anyone.  Can’t fault it technically, wonderful set, and near universally strong (large) cast too.  Didn’t emotionally connect for me, and clearly intended to affect the emotions.  Not a disaster, and there's some food for thought, but I found it interesting if uneven by the interval and spent a lot of the last act waiting for the curtain.  Hohum.

Family liked it, though, but it’s a bit of a crap way to celebrate a birthday.  One particularly stubborn and enthusiastic family member said on the way back “I noticed people left at the interval, BUT IT WAS SO WONDERFULLY GREAT that I have no idea why they might” and when I offered a potential explanation that other people might not have liked it they said “I just can’t engage with that mindset”.  So whilst I’m upset I didn’t get the chance to meet you, Mrs Lovett, I can't tell you how smug I feel in reading that you left at the interval.  It's a great sense of validation.  You’ve made my day.

#301227 The Silver Tassie- National Theatre

Posted Nicholas on 19 April 2014 - 01:47 AM

View PostMrs Lovett, on 18 April 2014 - 09:00 PM, said:

Il be the confussed looking one on row D slagging everyone off for being white and middle class

I'll be the one surrounded by my white middle class family.  I might as well be invisible at the National.  I'm sure I'll meet you one day, though - I was almost tempted to go see Henry V again just for the Mrs Lovett experience.

View PostLatecomer, on 18 April 2014 - 09:54 PM, said:

I have more or less ditched my family in favour of WOSers....my children know where my loyalties lie.....

Well, my family paid for this, and it is a birthday, so this time it might be rude, but next time...  The sad thing is sometimes I actually find myself quoting WOSsers in general conversation as if I actually know you guys, i.e. (awfully, I probably did say this) "Did you notice Electra's being directed by Ian Rickson?  I actually know someone who went to Mojo and found themselves sat next to him and ended up chatting about his productions with him!  Imagine that!"  Then I try to change the subject, simply because if someone asked "Who was that?" I'd have to answer "A woman from the internet who I think looks an awful lot like Chiwetel Ejiofer"...

#301074 Hotel

Posted Pharaoh's number 2 on 17 April 2014 - 09:48 PM

View Poststeveatplays, on 26 March 2014 - 08:49 AM, said:

I think Polly Stenham plays have been excellent, from That Face to Tusk Tusk to No Quarter (though I know many disagree about the last).

This one plays from31 May - 2 August at The Shed, and is in priority booking now, with public booking from 8.30am on Friday 28 March.

I mention it, because in the unlikely event the rumour mill proves true, and Billie Piper is in it, it may sell quickly, like "The Effect" did at The Cottesloe a while back.

No Billy Piper, but the excellent Shannon Tarbet is in this.

#301066 A View From The Bridge

Posted Alf on 17 April 2014 - 07:57 PM

View PostLatecomer, on 17 April 2014 - 05:44 PM, said:

Matinee yesterday.
We missed each other again Latecomer! Don't think that's the first time we've been at the Young Vic at the same time either! Glad you enjoyed it, agreed about it playing brilliantly in the round.

#301059 Donmar, Spring 2014

Posted Pharaoh's number 2 on 17 April 2014 - 06:46 PM

View PostLatecomer, on 17 April 2014 - 05:38 PM, said:

Then sat on train next to woman who logged on to train wifi on her computer and proceeded to do her on line banking next to me.....including putting in her passwords! Lol!

Your train has wifi?! Lucky thing.

#300948 Roaring Girls Season

Posted Beth on 16 April 2014 - 08:05 PM

I'm sad and surprised to hear The Roaring Girl has had poor reviews.  I've been meaning to post a review for days, because I thoroughly loved it, and the audience around me all seemed to as well.  It wasn't subtle, and maybe that's what turned the critics off (haven't read the reviews), but I came out of the theatre smiling.

I saw the first preview, which didn't feel like a preview at all: it was fast-paced and absolutely full of memorable characters.  It's rather choc-a-block with side plots, but these were whipped in and out frequently enough that we never forgot what was going on with all the characters, and were just as much fun as the main plot involving the ultimate Roaring Girl, Moll.

It's hard to pick anyone out of the cast, because I thought they were uniformly excellent, but if I had to pick a couple out, I'd chose Lisa Dillon who was superb as the feisty titular character, and Lizzie Hopley as Mrs Gallipot and Harvey Virdi as Mistress Openwork who constantly made me grin with their comic timing.  The set was rich and absorbing, and if the set changes were a little slow at times, who cared when there was lively on-stage music?

It was a bit of a motley mix of eras (Doc Martins under a Victorian era dress, electric guitar in the musical interludes), which sometimes bugs me, but here it worked for me.

And best of all, awesome roles for women!  I think it's a great start to the season - can't wait for the next play.

#300005 A View From The Bridge

Posted Poly on 10 April 2014 - 11:40 AM

View PostMrs Lovett, on 10 April 2014 - 11:21 AM, said:

Seeing this next sat. Never seen the play before. Wud I get more from reading it before hand or is it fine go go in virginal?

The production is not obscure and the narrative is clear, so I say don't read the text. Because they don't use many props, I 'd say it's good to know the setting: 50s, Brooklyn, docks, poor immigrants come to America illegally to work. Eddie - a dock worker who lived in Brooklyn all his life - and his wife Bea have raised their niece Catherine after her mother (Bea's sister) died. That should be plenty, you don't need anything else.

#299820 Time To Support Theatre On Forum!

Posted xanderl on 09 April 2014 - 05:43 AM

Nonsense - there are lots of threads here where people are being very positive about shows that are actually any good.

#299695 Old Vic New Season

Posted xanderl on 08 April 2014 - 09:48 AM

Nice that there's a ticket scrum I'm not part of for a change so I can observe from a safe distance :)

#299689 Old Vic New Season

Posted steveatplays on 08 April 2014 - 09:38 AM

I appear to be advancing one hundred spots in the queue every ten minutes. ETA 11am then, at which point no doubt I will be automatically logged out, or my payment will be rejected. Yes, so glad I didn't bother with yon quaint subscription booking period and stuck to tried and trusty technology!

I am advancing slower than popcultureboy behind me, because the people ahead of me are not bailing out of the sinking ship. They see actual lifeboats ahead. Hang in there popcultureboy! :)

#299688 Old Vic New Season

Posted popcultureboy on 08 April 2014 - 09:35 AM

I have gone from 2037th in the queue to 1500th in 20 minutes. I could very well be dead by the time I get on the booking screen.

#299607 The James Plays

Posted johng on 07 April 2014 - 03:27 PM

18th - Row E has a couple of seats available at £35  4th - Row G one or two left  There are unallocated bench seats on the stage for these productions which are at £15 and these still have availability

#299510 Good People

Posted peggs on 06 April 2014 - 04:14 PM

View PostLatecomer, on 06 April 2014 - 03:47 PM, said:

Loved this play. It starts at full pace and never looks back. I liked how we got to see two sides of most of the characters and nothing was black and white. Direction very good I thought, liked the swift set changes with actors still acting old scenes as they were revolved off. Imelda Staunton is just brilliant....she does tough but vulnerable very well. Tears at the end for me.
Oh I see, thanks, though we decided 2nd row actually better.

This was proper bounce out of theatre exclaiming loudly at greatness of it. Should perhaps add was with Latecomer and not just exclaiming at poor strangers walking past.