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Post by RudyGrey on Dec 6, 2017 13:38:06 GMT
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Post by RudyGrey on Apr 12, 2017 5:17:18 GMT
Saw this tonight and, in tune with some of the other comments above, I wouldn't have found it easy to sit through the material had it been in less accomplished hands, but Tennant and Scarborough are immensely watchable and for their performances alone, I'm very glad I went. Same feeling here! I actually went in expecting the worst, after some of the comments here. Yes, the flaws are obvious, but exactly by being prepared for those "politically incorrect" jokes, we had an entertaining evening. The central duo were most watchable, with a natural chemistry and we quite liked the staging. The plot's weakness was camouflaged by some very quotable oneliners. Don Juan's second half soliloquy made some strong points, though obviously contradictory to his own egocentrism on display throughout.
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Post by RudyGrey on Feb 28, 2017 5:32:59 GMT
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Post by RudyGrey on Jan 13, 2017 13:26:00 GMT
It would be superb if any of the lucky DMT+ members on this forum would spare a minute to share their booking experience here after 10am? Knowing some details on pricing and seat allocations would be highly appreciated and most helpful to reduce Monday noon stress levels for us "plebs" I will try my best to do this - if we get a seating plan I'll screenshot etc, and will happily share how the booking process goes Thanks a million in advance!
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Post by RudyGrey on Jan 13, 2017 13:21:32 GMT
Very pleased that DMT+ members will get a bonus 2 hours headstart on booking...I bought the membership hoping for such a situation! Roll on Monday... It would be superb if any of the lucky DMT+ members on this forum would spare a minute to share their booking experience here after 10am? Knowing some details on pricing and seat allocations would be highly appreciated and most helpful to reduce Monday noon stress levels for us "plebs"
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Post by RudyGrey on Dec 12, 2016 18:58:58 GMT
I even bought a programme Isn't it lovely that the Royal Court's programmes include the full playtext? Certainly better value for money than the advert-filled booklets at most of the other venues Reading Lucy Kirkwood's lines again back home, gave me an extra appreciation of how suggestive and poetic some of the dialogue was.
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Post by RudyGrey on Dec 11, 2016 7:18:50 GMT
I agree that it all took a bit too much time: there were a handful of moments I couldn't help but doze off. But still it kept me eager to know how the story would develop. A bit dissappointed that the bottomline was of a rather simplistic pessimism.
In the end it's the performances that stuck with me, especially the two actresses, who surprised me with their versatility and warm voices.
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Post by RudyGrey on Dec 10, 2016 18:15:22 GMT
Not until February, so I'll be looking forward to your impressions!
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Post by RudyGrey on Dec 3, 2016 14:57:02 GMT
Strangely, theatremonkey's comment triggered a very distant memory, that I might have actually seen that very same production in the Lyttleton. Must have been in the mid-90s, right? Ouch, makes me feel old now, especially with such forgetfulness...
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Post by RudyGrey on Dec 3, 2016 14:52:39 GMT
Okay, below's a try with the spoiler tags. Warning: if it were me, I wouldn't want to know about this effect before I see the production. (Can the moderators please help out, in case the spoiler thingy fails?) When we entered the auditorium after intermission, out of nowhere, there was this lifesize, massive steel & wood railway, running diagonally across the stage, right into the stage right audience. The scene starts with abundant smoke and very realistic sounds, effects and lights of an approaching train. Quite unnerving for the people sitting in the front row, to the right of me. A couple of scenes later, the tracks are "rolled" to the back for a scene or two inside Platonov's house. Then they appear again for a gripping final image, which I really won't spoil... But people who know the text, can probably guess already? Strangely, theatremonkey's comment triggered a very distant memory, that I might have actually seen that very same production in the Lyttleton. Must have been in the mid-90s, right? Ouch, makes me feel old now, especially with such forgetfulness...
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Post by RudyGrey on Dec 3, 2016 11:40:08 GMT
@theatremonkey: Not sure how to write a spoiler alinea, so I'll keep my reply very general ;-) Yep, your description sounds almost exactly like what we saw: very surprising and impressive. Made us wonder how on earth they made this swift set change!
Btw, we sat centrally on row A (12&13), which felt like prime seats. The low stage and ample legroom allowed for a perfect view, without any neck ache.
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Post by RudyGrey on Dec 3, 2016 11:09:37 GMT
The Hampstead Theatre email we'd received beforehand said 2:20, but I didn't double check time until we were on the tube, around 10pm.
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Post by RudyGrey on Dec 3, 2016 10:51:44 GMT
We were there yesterday and found the production in excellent shape for a first preview. Jonathan Kent sat to the side in the Stalls, notepad at hand, quiet and smiling, chatting to staff and audience during the intermission.
The first half was well acted and spoken at fast pace, but left us somewhat baffled at who's who. The story drags a bit and left us at loss for where it's going. (We hadn't seen the NT Chechovs and weren't familiar with the play.) Kudos for the atmospheric set design and lighting.
After the intermission, an impressive set piece sets off a very farcical and manic second half. Set at moonlight, with the whole ensemble drenched in vodka, Platonov grows increasingly, tragicomically desperate. Helplessly chased by four women, through a hilarious series of drunk confusion scenes, the tragic finale feels inevitable, nearly comical still.
Geoffrey Streatfeild's magnetic, most impressive Platonov, is strongly supported by a unanimously excellent cast. A special nod to Michael Frayn's lucid translation, too. After a brisk two and a half hours, we traveled home very satisfied.
PS: First time to the Hampstead Theatre, we were impressed by the nice, modern auditorium too!
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Post by RudyGrey on Nov 20, 2016 11:49:50 GMT
I wasn't there to witness, but according to the show's tweets, Lin-Manuel Miranda was at "Murder Ballad" yesterday.
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Post by RudyGrey on Oct 22, 2016 5:47:31 GMT
Here's the PBS documentary "Hamilton's America", a fascinating behind-the-scenes look at how this production grew. Here's me all the more eager to see the show now… www.pbs.org/video/2365870668/ (The link's content will expire on 18 november) edit: Ooops, sorry for the similar thinking, Snutte ;-)
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Post by RudyGrey on Oct 9, 2016 13:28:59 GMT
Thanks, Foxa, what a treat indeed :-)
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Post by RudyGrey on Jun 13, 2016 10:41:35 GMT
Thanks for the heads up!
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Post by RudyGrey on Jun 8, 2016 13:09:54 GMT
No, the Almeida's restricted view seats are excellent value, as the only restriction is a very slender pillar.
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Post by RudyGrey on Jun 7, 2016 20:21:38 GMT
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Post by RudyGrey on May 5, 2016 11:27:14 GMT
Finally got a seat-F20. The restricted view seats were available to me in F19 and F18 were available. I wonder would I have been better getting one of those instead of my £38 ticket as it appears from the seating plan on their website that I will still have to look past the pillar in row E if I want to see the other side of the stage? F19 is one of my favourite bargains, because it has no notable sightline restrictions. So yes, one might wonder what justifies the £38 vs £10 price difference? Then again, the Almeida's annoying "no single seat policy" often makes it difficult to book those £10 seats online. So you could ring the Box Office and ask for an exchange (they can manually override the single seat rule), but at the rate today's bookings are going, it won't be easy to get through by phone... So, personally, I'd stick with F20: a good seat for a fair price, compared to West End theatres.
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Post by RudyGrey on May 5, 2016 9:43:04 GMT
I took the plunge and got £10 seats in row f behind a pillar I personally think the intimacy of theatres like the Almeida negates the fact that you've got to look round a pillar Should be no problem: the Almeida pillars are very slender, so their £10 pillar seats are a perfect bargain. Indeed, at the rate the sale is going, just grab what seat you can get now. It's clear it won't be difficult to put a ticket back up for re-sale, should you wish. Good luck to all of you!
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Post by RudyGrey on May 5, 2016 9:14:54 GMT
I was able to book our two tickets right at 10am, but haven't been able to access their system since… Fingers crossed that I won't have to start all over again now!
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Post by RudyGrey on Apr 18, 2016 19:41:21 GMT
And Hamilton wins the 2016 Pulitzer prize for Drama... Doesn't look like NY tickets will become easier to purchase anytime soon!
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Post by RudyGrey on Apr 7, 2016 16:44:15 GMT
Has Lin-Manuel seen the London production? No, but his endearing parents represented him at the Southwark Playhouse opening: Lin-Manuel Miranda himself did visit with the cast shortly after the SWP run, but I don't think he's made it to the Kings Cross version so far.
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Post by RudyGrey on Apr 4, 2016 9:31:28 GMT
Here's the sizzling 96,000 Olivier performance:
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Post by RudyGrey on Apr 3, 2016 20:13:08 GMT
Hurrah for Drew Mc Onie: well deserved!
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Post by RudyGrey on Mar 24, 2016 13:58:18 GMT
Yep, was going to post this info as well: "As a previous Old Vic booker we're giving you access to priority booking from Thursday 24 March at 12 noon."
Dang, that could have saved me the £35 membership fee…
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Post by RudyGrey on Mar 24, 2016 5:44:52 GMT
12 April at 12pm
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Post by RudyGrey on Mar 23, 2016 11:46:55 GMT
Yay, finally!
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Post by RudyGrey on Mar 22, 2016 15:06:39 GMT
Done! Very quick, easy and friendly service by the box office. I'll let you all know how those seats turn out.
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