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mallardoMember Since 05 Mar 2011
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Posted xanderl on Yesterday, 06:19 PM
Posted freckles on 05 March 2014 - 09:36 AM
My favourite when I saw it (from a similar gaggle of ladies) was "Oooh, don't take your coat off Joan, it's a bit nippy in here. I feel sorry for that poor girl, I hope she's got a heater backstage!"
Posted wickedgrin on 05 March 2014 - 09:16 AM
Woman 1 "do you think the ceiling is going to fall in"
Women 2 " it would be more exciting than the show wouldn't it"
Woman 1 "I'm glad Gladys didn't come she would not have liked the swearing"
Woman 1 "There's nothing scandalous about it now is there...."
Woman 2 "Ooooh no, I bet it's all going on today, it's just that we don't know about it, and wont do for another 30 years or whatever, the establishment - they're all still at it"!
Woman 1 "Yes look at that Patrick Rock"
Woman 2 "Who dear?"
Woman 1" Do you think that they (the cast) give their all when they know it's closing in a few weeks?
Woman 2 "Well that Christine Keeler gave it her all (cackles) but I suppose they hope to be picked up for something else - they never know who's watching"
Woman 1 "There are some nice songs aren't there... it's a pity he did not write them for a different show"
Woman 2 " But then it would have been a different show wouldn't it"
Posted peggs on 02 March 2014 - 07:13 PM
Normally loathe the fool and the look at this fool had made me more fearful but he actually made more sense that other fools i've seen and i liked how he ended up. Stanley Townsend good at Kent with that great voice of his and liked this interpretation of Edgar. Edmund weak I thought, seemed neither particularly scheming or attractive as a man.
Am not sure how much this 'Stalinesque' approach bought to it, in the Olivier having actual knights makes sense, you've got the space and it illustrates and backs up the sisters' complaints and also i suppose helps to show how everyone goes to lear Lear alone (almost). Satisfying eye gounging, as in it was suitably awful and rather a lot of fake blood sloshing around the place but fair enough.
I don't know, how likeable is Lear meant to be? He is a king and as such to some extent his followers (Kent, Gloucestor) surely follow as their duty rather than because they 'like' him or agree with his rule? Ian Holm's lear changed my view of what he should be, it blew out of the water the whole it's just a man who makes one mistake that school would have had be believe. Still I think the whole dictatorship feel is over done and probably distances Lear from the audience which won't help everyone.
Posted Adrianics on 28 February 2014 - 09:13 AM
I've only seen Evans in Ghost, and I have to say that lovely voice aside his acting really wasn't up to scratch, then again the material was pretty shoddy so maybe he's a lot better in BOM.
Creel and Gertner are both utterly amazing in their roles and for me more or less the definitive performances of the characters, so I kind of pity whoever replaces them because they have a lot to live up to!
Posted Orchestrator on 28 February 2014 - 08:38 AM
Posted Althea on 26 February 2014 - 02:40 PM
The piece itself is a surprise - cleverly satirical and very funny and in some parts shocking. Book of Mormon has a lot to thank this show for paving the way in 2001. If you love musicals you really should check it out as it offers a very different and refreshing night at the theatre. The St James has definitely come back from the debacle that was Tell Me on a Sunday (one of the shoddiest and cheaply put together productions I've ever seen) and hopefully this will set the standard for this brilliant venue.
Posted paplazaroo on 25 February 2014 - 12:31 AM
Posted steveatplays on 22 February 2014 - 10:04 PM
In Hayfever, Fleabag and Mydidae, Waller-Bridge was flawless delivering laughs.
In Mydidae, directed by Waller-Bridge's DryWrite theatre company partner, a play where two couples in a bathroom verbally flayed each other until violence broke out, Waller-Bridge's humour became an instrument of cruelty, so it was hard in some scenes to know whether to laugh, gasp or cry. However, the play itself was never cruel, as the cruelty sprang from self-hatred and guilt.
But "The One" (written and directed by Vicky Jones) is much crueller than Mydidae, and is more disturbing, as the cruelty in this play has at it's root sociopathy and sensation-seeking.
The central sado-masochistic relationship is between Jo (Phoebe Waller-Bridge) and her former English Professor, Harry (played by Rufus Wright, who was David Cameron in The Audience). In fantasy, they see themselves as monsters, and the theme song of their love is "Music of the Night" from Phantom of the Opera, which Harry sings to Jo more than once.
The play is a three hander, and Lu Corfield plays Kerry, who genuinely loves Harry. The question for Harry is "Who is The One for him?" The girl who loves him, or the girl who loves to torture him?
During the course of the play, I went from laughing my head off to being very disturbed. I'm all for healthy sado-masochistic relationships, where power exchange is a mutual expression of love through play acting. But Jo and Harry get off the most when they are genuinely hurting each other, or at least Jo does. This is a seriously unhealthy relationship, and a horrifying critique of selfish sensation-seeking.
I will watch Phoebe Waller-Bridge in anything, but I do hope her projects with Vicky Jones prove not to be all as sadistic and sociopathic as this one, as my laughlines were replaced with a great big frown. Intermittently hilarious, exciting, illuminating and unpleasant. 3 and a half stars.
Posted Latecomer on 19 February 2014 - 07:50 PM
A mass and jumble of ideas.....messy....a bit like life!
I liked the ending too!
Posted steveatplays on 19 February 2014 - 06:35 PM
This is all about character, similar to Wesker's Roots in it's focus on a mother and daughter, but the relationship here is the polar opposite. In the Wesker, the women are very different and try to attract each other to their respective positions. In this, both are instrinsically the same, and like two positively charged sides of a magnet, repel the other away with feisty shows of independence.
These women are not friendly Facebook types, but they are ostentatious twitter types, who seek followers rather than friends. They do things their own way, and expect others to take it or leave it. Indeed, I have no doubt if these two working class women were alive today, they would each accumulate thousands of followers on twitter, and have next to no Facebook friends.
And like Wesker's Roots, the plot wheels turn slowly: mum moves out with a fancy man, girl gets pregnant and gets a gay friend to take care of her. That's it for close to three hours, minus ten minutes. So if you want a Ferrari of a plot, forget this, which is like taking the bus in rush hour.
But if like me, you like your character based comedy drama, where the comedy is as much an engine as the drama, this is fantastic. Both Lesley Sharp and Kate O'Flynn are unforgettable, pitching their self-obsessed comic needling and buoyant independent spirits just perfectly for the whole running time. The singing and dancing interludes emphasise the resilience of these characters, who despite trying circumstances will never be victims. As a sympathetic portrait of two very powerful very selfish and independent women who spar, yet have wells of barely admitted affection for each other, I loved this.
All 3 male supporting characters are great, Eric Kofi Abrefa is so smooth, it's like he's a dream. Dean Lennox Kelly is like a monied version of David Thewlis' wretched drunk on Shameless. And Harry Hepple is more caring mum than either of the women.
The Lyttelton is definitely too big, and I admire Hildegarde Bechtler's design for decorating the redundant left side of the stage with such picture postcard charm that the chasm of unused space is not distracting. But even in the front row, I felt like I was in the worst spot at the Royal Court Upstairs, a space that would have truly heightened the intimacy of a piece like this. On the plus side, at least a huge amount of people will get to see this rarely produced gem. 4 stars.
Posted AddisonMizner on 16 February 2014 - 11:25 AM
The cast offer THE best singing I have heard in a musical in a LONG time, and really bring this gorgeous score to life. Scarlett Strallen did a stonking job with “Glitter and Be Gay”, delivering the coloratura with aplomb. The chorus singing was particularly fine – “Make Our Garden Grow”, to my mind one of the greatest pieces of music ever written, was spine-tingling and well worth the price of admission on its own.
I would love to see this again, but can’t see it transferring to another theatre after the Menier run. It would need to be totally redirected and it would perhaps lose some of the magic that it currently has.
Posted Reich on 11 February 2014 - 02:38 PM
I miss Quiet and We are Woman. Plus I like My Love to feature Maximilian in drag! Scenes could be cut to make it clearer such as the Anabaptist, Candide as an actor etc … But I really like the rejigging of the songs for Venice as it has a much greater and dramatic impact … Candide as a stage production is such a puzzle so I’ll always have a little moan about what to include plus I’ll moan more if everything is included!
James Dreyfus, is the weak link in the production. He is the only person who has made the main part appear superfluous! … Interesting how the chorus take a lot of his lines. Also he is not in the show for the final week. I wonder why?...
But putting Martin’s professional pessimism aside, this is one of my favourite Chocolate Factory productions. I wish it was getting recorded.
Posted EmiCardiff on 01 February 2014 - 11:33 AM
I've seen it (ahem) 3 times now. (including the NT live broadcast) the first time I was really underwhelmed by Hiddleston, but impressed with the production and the virtually flawless rest of the company. The second time, whether I was in a better mood or whether he was just better I was more impressed with Hiddleston, however he still doesn't wow me. I don't think it's a problem with his acting ability more a combination of this not being "his" part or that the amount of hype surrounding him that skewed my expectations (I have several friends who are somewhat devoted fangirls)
Personally my highlight was Gatiss, as a big fan of his I was nervous to see how he'd fare in Shakespeare (I think I'm right it's his first professional Shakespeare) but he really wowed me, and I'm not one to be wowed just because I like an actor in fact I'm generally more critical! His and Findlay's performances made this production for me.
I do agree with the comment about Hiddleston in particular performing for the cameras on the broadcast-first time I've noticed actors doing so in an NT live too. Shame.
Posted Andromeda Dench on 31 January 2014 - 11:56 AM
I must admit I don't know many Slovenians or their theatre preferences, but I do remember seeing a very decent Slovenian production of Jesus Christ Superstar. Didn't understand a word, but still enjoyed it. And since Slovenia was also a part of Austro-Hungarian empire before WW1, and as such exposed to their operetta tradition, my theory why Croatia (and Slovenia) have good MT, while the rest of us ex-Yugoslav republics, which spent 500 years under decidedly anti-MT Ottoman occupation, don't have a clue, still stands.
Some more ramblings on this: I've asked for my mum's opinion on why MT has never really taken root in Belgrade (she's also an avid theatre-goer and both she and my dad visited London regularly to see shows during the affluent 70s and 80s) and, in her opinion, MT was always regarded as a lesser theatre form for ''unsophisticated working classes''. (Perhaps, something like Music Halls?) If you considered yourself an intellectual, you'd avoid it like a plague. Only ''edgy'' new shows, like Hair, were considered acceptable and would get staged at non-musical theatre venues.Then again, considering what passed as MT over here in those days (60s,70s,80s), I'm not sure I'd go and watch any of it either. However, Zagreb and their main MT venue Kazalište Komedija have always been a whole different story.
If I ever write that script and flog it to a Hollywood studio, we're sharing the profits (and using them to buy more theatre tickets - only premium seats + champagne in the interval + a weekend with cast members we fancy).
Aww, it's comforting to hear I'm not alone. But sometimes, when I think about it, it does seem a bit like an addiction - A trip to London is so bloody expensive, I've figured out I could spend a month backpacking around Portugal or Spain, and it would still cost me less than a week in London (on a budget), plus I'd be spared filling in 50 pages of the visa application form, answering questions along the lines of ''Have you ever belonged to any terrorist organisations and if so, which ones?'' (Oh, and it costs 100 EUR just to apply). Yet I still choose London...
Isn’t that odd, and a brilliant point about how theatre fans are seen.
Struck me that it’s perfectly acceptable for me to say “I’m going to Las Vegas to watch Amir Khan fight, then on to New York to see the Packers play the Jets” (I really am a fan of both boxing and American football); yet if I said “Going to see “Spiderman the Musical” and “King Kong the Musical” in the same places, the funny looks start (and not just from musical theatre aficionados...).
Indeed! Telling people that I'm off to Barcelona or Amsterdam or some other place I don't particularly want to visit but is generally regarded as ''fun'', is always met with enthusiastic reactions. But ''I'm going to London to try and get in the NT's 50th anniversary celebration'' didn't go down so well. So I keep going to Barcelona. The problem occurs when someone wants to see pictures or hear how it was. My sister, who actually visited Barcelona, had to give me a briefing on what I saw and what I liked in case someone really insists on details... Sometimes, all that sneakiness makes me feel like I'm doing something shameful or illegal!