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The Glenbuck Laird

Member Since 29 Dec 2011
Offline Last Active Today, 08:40 AM
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#300318 A View From The Bridge

Posted hotshot on 12 April 2014 - 10:30 PM

So I thought this was a bit indulgent and pretentious in its treatment. Great and stunning opening scene but to me it went downhill after that. Intense performances but some artistic decisions were made that just didn't make sense to me. Not the best play i've seen this year unfortunately.


#300361 Donmar, Spring 2014

Posted fringefan on 13 April 2014 - 02:41 AM

This makes fascinating and tantalising reading - but Lynette, how fortunate, in view of your total change of heart, that you didn't leave at the interval, as I would normally be tempted to do if unimpressed by that point!  Should I find myself thinking of doing so when I see this, I shall try to remember your comment and stick with the whatever-it-is!


#300363 Our Esteemed Culture Secretary

Posted Matthew Winn on 13 April 2014 - 05:05 AM

I don't get it. I mean, I understand the point of giving some headline-grabbing halfwit a position in the cabinet to divert attention from the general low-level incompetence of the government as a whole, but it's not supposed to be this obvious. It's like they're not even trying.


#300004 Our Esteemed Culture Secretary

Posted musicalmadness on 10 April 2014 - 11:26 AM

I don't think Sajid Javid knows his arts from his elbow.


#299956 A View From The Bridge

Posted Poly on 09 April 2014 - 10:52 PM

It's hard to express how brilliant this was. I doubt I will see anything as good (as intense, as raw, as full on) this year, which means that basically my theatregoing life is ruined, but I can't praise it enough.


#299913 Trafalgar To Be Transformed Again

Posted Mrs Lovett's Meat Pie on 09 April 2014 - 04:15 PM

View PostHonoured Guest, on 09 April 2014 - 03:17 PM, said:

Do we think the rumours could be true?

What rumours!?!?!?!!??!


#298877 A Streetcar Named Desire

Posted theatremonkey.com on 31 March 2014 - 12:45 PM

If it helps anyone: I booked online last Tuesday morning. Got the "card transaction OK, transfering you back to retailer" screen. That then hung around for nearly 10 minutes. I then did get the Young Vic screen saying "transaction confirmed, we will send you an email."

I never got an email, so on Saturday I popped into the box office and explained what happened.

They instantly found my booking just from my postcode, and confirmed it was fine.

A minute later, ticket in my grubby little mitt.

Quick walk over the bridge to Diagon Alley, ticket safely in my Gringotts Vault until required :)

So, they can check things without needing a booking reference.


#298921 Pests - Royal Court

Posted Nicholas on 01 April 2014 - 12:41 AM

I personally found it a really invigorating evening.  A deeply uncomfortable, a traumatic and harrowing evening, and truth betold an imperfect evening, but pretty much from start to end it really got to me.  Sinead Matthews and Ellie Kendrick are both amazing, variously rendering you unable to take your eyes off of them.  The accents take their time to settle, and once they have they come and go, but mostly secure.  The language, on the other hand, settles in absolutely no time at all – you don’t need to be au fait with this kind of language to follow it quite easily, and though I didn’t wholly believe the accents I did the voice.  Only at one point did I slightly miss the point, when they were talking about a “pup” and I’d forgotten that that meant child instead of puppy.  There is a poetry to the language – I don’t know if that’s the language itself or Franzmann’s own composite words – and as well as being surprisingly easy to follow it also veers between crude and ugly and strangely poetic.  It’s certainly a literary voice to pay attention to.

As for the play, it’s about people so trapped they make Beckett’s Winnie look like Anna Pavlova.  Culturally, intellectually and socially they’re malnourished, living in their own little world from which they can’t escape, and watching them try and repeatedly make bad choices is a really tough watch.  Certain scenes are very hard to watch and certain uncomfortable scenes and moments will stay with me for a long time.  There are bits of this that are, (I think consciously) reminiscent of Trainspotting, very uncomfortable, visually distinctive and very hard to budge from your memory.  Harrowing is the right word, especially as what hope there is in the play is dangled like a carrot for a donkey, unreachable.  One moment in particular will likely come up repeatedly in conversation and reviews, but not knowing what it is is for the best.  It's an unsettling and unforgettable moment, though.

Regarding what’s not right, this was one play where I laughed less than the audience.  Sinead Matthews’ character is pretty funny at times, but it did feel more than once that people were laughing at, not with, them – at their ignorance, at their language and culture, at what they didn’t know about society – and that made me uncomfortable.  I’m not sure if Franzmann meant this, which makes me feel uncomfortable about that aspect of the play, or if the audience were laughing at them, which makes me feel uncomfortable about tonight’s audience.  Given how she treats them elsewhere, I imagine it was the audience, for the most part.  Also, even at its brief running time, it's too long - certain scenes came and went without consequence, which I suppose was the consequence in and of itself (they went nowhere, and nor are these lives at these moments following these pathways) but weren't wholly successful dramatically for this inaction.  I didn’t mind the Wizard of Oz references and thought they worked, this beautiful tale of hope and colour married to such an uncompromisingly grim world.

I’ll be very glad to sleep on this, it’s a very uncomfortable piece of theatre and better for it.  I like it a lot.  It’s not a likeable play, though the characters are (as in Trainspotting) strangely likeable and easily empathetic – well written characters, but with lesser performers much would definitely be lost.  Very powerful, very disquieting and at moments really very shocking.


#298695 Bad Behaviour At A Show

Posted Nicholas on 29 March 2014 - 11:10 PM

At the Barbican on Wednesday, a lady a few rows ahead of me left half way through.  Then came back.  Then left a little later again.  Then came back with two beers.  Then was the only person in the auditorium to give it a standing ovation.


#297749 Bad Behaviour At A Show

Posted Coated peanut on 23 March 2014 - 06:06 PM

I had to shush someone in an otherwise well-behaved audience at the ROH and got a "Oh for ****'s sake" for my effort, but he did shut up for the rest of the performance so I count that as a win.


#297712 Bad Behaviour At A Show

Posted Steffi on 23 March 2014 - 02:12 PM

Lots of rustling with sweet wrappings and such at Once last night. My look of disapproval at the woman next to me obviously wasn't threatening enough though as she proceeded to offer me some sweets in return.


#292246 Old Vic New Season

Posted Mrs Lovett's Meat Pie on 09 February 2014 - 09:19 PM

Why would Kev pretend to be Benedict Cumberbatch? Bloody weirdos


#296639 New Lee Hall Play At The Nt 2016

Posted xanderl on 14 March 2014 - 12:18 PM

Working title - The Trenchman Tenors.

I may have made that up but offer it to Lee Hall for free.


#296635 New Lee Hall Play At The Nt 2016

Posted paplazaroo on 14 March 2014 - 12:00 PM

About northern army regiment in WW! doing opera and theatre in the trenches.

I imagine Lee Hall's creative process for this idea as he walked home from Privates on Parade thinking about the WW1 centenery was a bit like this - "I'm gonna write a play about a bunch of geordies doing something arty, which is unusual right, cos geordies in the past only did mining and homophobia right, ballet!, no I've done that, painting!, no I've done that, theatre and opera! yes!"


#296707 What's Happening In Leicester Square

Posted Adara on 14 March 2014 - 11:35 PM

When last in London, I picked up a ticket at the half price ticket booth.  The nice lady in the booth then volunteered directions to the theatre, using the M&M World as a landmark.  A little part of me died inside.

(Yes, I'm an American.  But when I go to London, I want London, not Times Square ... or Las Vegas.)