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Post by dave72 on Jun 11, 2017 11:58:22 GMT
It may be perverse of me, but I'm quite looking forward to seeing it--and not because I expect it to be bad. Certain reviews--especially Lukowski's in Time Out--make me hope that the play (especially in its newly trimmed-down form) is more interesting than most have given it credit for. It wouldn't be the first time--I loved Deborah Warner's School for Scandal at the Barbican years ago, for instance, when everybody else hated it. And I always try to go to the theater with a sense of hope.
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Post by dave72 on Jun 9, 2017 21:48:14 GMT
I saw this tonight, and whatever hesitations and disconnections existed in previews have been erased: the whole production seemed seamless to me. And I didn't find it the least confusing: it's only very occasionally that several people are talking at once, and although you have to listen carefully (not a bad thing, right?), the three narratives all came through quite clearly. I was engaged and in suspense throughout, and would very much recommend the play and the production. Katie Mitchell is so precise and focused in her directing that the whole thing packs a powerful emotional punch. Five stars from me.
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Post by dave72 on May 19, 2017 15:25:28 GMT
It's a wild, hilarious, challenging, completely unpredictable play. Somebody described it as Uncle Tom's Cabin as rewritten by the Marx Brothers, and I think that's just about right. In my view, one of the most exciting plays of the last decade. But yes, much depends on the production, which I haven't (yet) seen--the New York production set a very high standard.
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Post by dave72 on May 8, 2017 18:32:12 GMT
Perhaps everyone already knows this, but when I booked for the Gielgud transfer (weeks ago), there were *many* more seats available through the www.delfontmackintosh.co.uk/index.php site than through the Royal Court website. The RC site had only a handful of what was actually available at that point.
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Post by dave72 on Apr 23, 2017 19:54:49 GMT
I'm surprised not to find a thread for this yet. This play by Branden Jacobs-Jenkins, one of the most celebrated young American playwrights (Pulitzer Prize finalist, winner of a MacArthur "genius" grant, another play opening in June at the Hampstead Theatre, etc.), was a huge success in New York in 2015. I thought it one of the most exciting plays I've seen in recent years. The Orange Tree production will be a very different experience, since it's in the round, whereas the New York production made use of elaborate stage effects. Nor do I know much about the recently announced cast. But I'm very much looking forward to it. www.orangetreetheatre.co.uk/whats-on/an-octoroon
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Post by dave72 on Mar 9, 2017 15:48:27 GMT
Still no notice of a transfer?!
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Post by dave72 on Feb 23, 2017 15:33:21 GMT
Does the announced production of The Philanthropist at Trafalgar Studios (April 3 - July 22) suggest that Hamlet will *not* be transferring there immediately after its Almeida run, as previously speculated? Or is it going to another theatre? Anybody know? ( mrbarnaby?)
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Post by dave72 on Jan 27, 2017 16:36:40 GMT
No mention at all of the previously announced Antony & Cleopatra with Fiennes - I wonder if it's still on. Good spot! It seems to have been usurped by Macbeth and his Lady. From the " Coming up at the NT 2017 and beyond" page: Simon Godwin's new production of Antony & Cleopatra by William Shakespeare, with Ralph Fiennes as Antony, is now planned for later in 2018.
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Post by dave72 on Jan 27, 2017 4:01:19 GMT
Yes, presumably there will be something else on in June in the Olivier besides Salome, and something else in the Lyttelton besides the handful of performances of Angels in America, and so far I don't believe anything has been announced. Right?
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