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foxa

Member Since 12 Feb 2007
Offline Last Active Mar 30 2014 07:21 PM
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#297176 The Knight Of The Burning Pestle

Posted Ryan on 18 March 2014 - 04:43 PM

OMGosh, this was a right old barrel of laughs with not a single weak link in the cast.  Phil Daniels and Pauline McGlynn seem to be bagging all of the publicity but the rest of the cast is magnificent with a capital MAGNIFICENT!  Special mention to Dean Nolan, Dennis Herdman, Hannah McPake and Dickon Tyrrell but the whole shebang belongs to Alex Waldmann and Matthew Needham.  Rafe in particular is just so gloriously loveable a character and played with such a warmth and sincerity by Needham that you want him to win every step of the way.  When he stepped out for his final scene on the day I saw it the audience let out an "awwwww".  How he does it all with his leg still strapped up is admirable.  It could do with a bit of trimming in the final act (the play, not Matthew Needham's leg) but all in all it's simply marvellous.  Most fun I've had at the theatre since taking nitrous oxide to get me through the second act of 'Happy Days'.


#289162 Sam Wanamaker Playhouse, Globe Theatre

Posted Nicholas on 11 January 2014 - 12:45 AM

Wow.  That word inadvertently escaped my mouth as my jaw quite literally dropped upon entering this building.  It is a work of art, it is a thing of quite extraordinary beauty.  When you go (AND GO GO GO!) you’ll hopefully know what I mean.  I’ve said before you can’t replicate the Globe but this was of course something else entirely – an addition, an extension, its own piece of work.  This is a truly unique and extraordinary building.  It’s more proscenium-arch-y than I expected and all the bench-like seats in the pit (which is where I will sit in the future) face in to the aisle so you have to turn 90˚ to see the stage (there are seats behind the stage next to the musicians like at the Globe) and the other layers either face or run parallel to the stage.  It’s hard to explain, but it’s not architecturally like anywhere else I’ve been to, even old church halls or buildings on which it is slightly modelled.

The mechanisms are astonishing - the way there are windows is truly fascinating, the chandeliers are an absolute asset that make the lighting here, well, it's not often I rhapsodise about lighting mechanisms so...  It gets very warm, that must be said, but amazingly for all that fire (if there is such a thing as pyrophobia and you are a sufferer this might be somewhere to avoid) it only gets warm and not hot let alone boiling.  The proximity is astounding.  Whilst watching the play (more on that later) you would notice a tiny detail of an actor’s face suddenly as a candle would flicker nearby.  I assume where-ever you are you are so extraordinarily close it feels, as my brother said, like you are almost actually within the action.  I felt there was something almost cinematic about the way teeny details were, thanks to the proximity, magnified – you could focus on a face like a close-up, you could look at the whole stage like a wide shot (which you obviously can elsewhere, but far more intently here).  I can tell you whether or not Gemma Arterton or James Garnon have fillings.  As actors passed me their costumes hit me.  The marks teardrops left in the make-up were highlighted.  I have made prolonged eye-contact with twenty or so new people, which I haven’t when I’ve been in the front row of the Donmar or the Young Vic or other intimate buildings.  It was like nothing else.  So as a space for theatre, especially intense tragedy, it is brilliant.

But mainly, as a piece of architecture, it is a piece of art.  The wood is beautiful, it is new, it is astounding.  The painting, the details like that, are like the Globe but even more beautiful.  Though this is an opinion I know others vehemently disagree with, the Globe always was one of my favourite theatres – I feel that the mindset I am in upon sitting down in the Apollo or the National or the Royal Shakespeare Theatre or the Jermyn Street theatre is always roughly the same detachment from reality and focus on and belief in the theatrics, whilst the mindset I am in upon entering the Globe is almost like getting into a character and that amplifies and changes the play I watch, whatever that may be.  And I felt that upon sitting down here.  If this is an extension of the Globe, it makes the Globe even more wonderful in my eyes.  It is a thing of art.  Wow.


#287641 Stephen Ward - The Musical

Posted Titan on 23 December 2013 - 12:55 PM

Is it definitely a gun? I cant tell from that photo

Aside from Bonnie, my other thought was seeing as its in blackpool, is it maggie thatcher?


#261994 On Approval

Posted Lynette on 14 April 2013 - 03:31 PM

Lots of fun. I think they will excavate the rest of this Lonsdale's work though he sounds to have been a bit of prat personally from the proggie note. Sort of sub Noel Coward.
Nice performances. Pity they couldn't afford really swish clothes for the gals who were supposed to be rolling in it. The coat had holes in it. But for a small space it was well presented and very well directed. A few ciggie fumblings. People who really smoked used to light up in a flash.

Thinking: seen really nice stuff at small venues recently: St James, The Print Room and now this at Jermyn St. Entertaining and heartfelt. Long time since I came out of the Olivier/Lyttleton thinking I had enjoyed myself. And it isn't the money.


#243729 Bad Behaviour At A Show

Posted xanderl on 04 November 2012 - 12:27 PM

I see from the "All That Fall" thread that Trevor Nunn's phone off went in the auditorium the other night! Perhaps Trev and Peter did it for a bet. If someone sees a drunk Richard Eyre singing along loudly at Jersey Boys and Nicholas Hytner elbowing people out of the way at the stage door of Wicked to give a birthday cake to Ben Freeman we'll have the full set of badly behaving National Theatre Artistic Directors.


#243705 Bad Behaviour At A Show

Posted xanderl on 04 November 2012 - 08:33 AM

http://www.telegraph...of-theatre.html

Quote

But as the 25-year-old delivered the play's final words on its opening night it became clear that one member of the audience was less than impressed.

"Stop, stop, stop," a mystery voice boomed from the stalls. "It doesn't work and you don't work. It is not good enough. I could be at home watching television."
They were stunned to discover that the culprit was none other than Sir Peter Hall, former director of the National Theatre and a colossus of the theatre world.


I wish I'd taken this approach and shouted at his daughter during his rubbish production of Twelfth Night.