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Post by theatre-turtle on Sept 26, 2017 21:44:52 GMT
Wow.. how did this get renewed
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716 posts
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Post by theatre-turtle on Sept 4, 2017 22:11:12 GMT
The economics would be all over the place as well with a massive orchestra and cast and a complicated set. It would likely be a massive loss making venture.
So glad the taxpayer is subsidising my enjoyment of this to make it possible.
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716 posts
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Post by theatre-turtle on Aug 23, 2017 22:39:41 GMT
Back from Preview 2. Have never seen this Sondheim before. What works is the glorious set, the exciting start, and the 2 up tempo numbers. What doesn't work is most of the rest of it. It seems to have no drama, weirdly, for a musical, and yet the many characters shout at each other and argue as though a lot is at stake. The problem is we don't see enough of their younger selves, bar a few sentences, to really feel for them in their old age. It's a strange beast. I found it hard to care for either the women or the men. And I need to care about the people on the stage. By the second half it just seemed to become a lot of set piece numbers, with the different characters Folly's. Then one of the men had a scream and collapsed, and then they all walked off. But it left me unmoved, even when those on the stage were acting moved. It's a great idea to have a show about a reunion and memories and conflicts of the past (and this is staged well by Cooke having the younger selves permanently ghosting the older selves, albeit mostly as mutes), but the conflicts were high stakes enough. You took my husband. I took yours... It's probably too close to Staunton's Martha to see her in this role, as a lot felt similar to that performance. But I do love that laugh she does. Janie Dee was really good, and you could feel her pent up rage from the start. Even when dancing. A sign of a great actress. The mirror number (is it?) was when the show finally sprang to life, and the audience were able to clap rapturously (it felt like they wanted to from the off, but weren't allowed, if that makes sense?). And Janie Dee's Folly's number was great too. But apart from these, there didn't seem to be much spectacle in the numbers to match the spectacle of the set (really impressive). I always do an audience check around me if I'm feeling a bit bored or disconnected during a show, and I looked around the stalls and realised I wasn't the only one. Not that people were slumped in their seats, but there was an ever increasing air of disappointment as the show went on that "this is what it's going to be". The occasional number of joy or energy, but then back to the dramatically lacking script and story, or some very slow songs. I think if you go wanting to absolutely love it, you will be fine. But if you go not knowing what to expect or expecting an evening of music and drama coming together, you won't quite get it here. But I think that's less the fault of the production and more of the show itself. Thanks for your realistic perspective on this. Many of theatre dedicates are obsessed with SS (including myself), but there's a reason he's only had modest commercial success as compared with his prolific critical success. The NT has a wide audience, not only of theatre dedicates, and it may well appeal a lot less to many others.
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716 posts
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Follies
Aug 23, 2017 16:16:42 GMT
via mobile
Post by theatre-turtle on Aug 23, 2017 16:16:42 GMT
Anybody know the bow order?
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716 posts
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Post by theatre-turtle on Aug 20, 2017 21:30:23 GMT
Who cares if there's a plot or not when you've got a lot of dames?
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716 posts
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Post by theatre-turtle on Aug 17, 2017 12:14:03 GMT
It's a pretty budgety production using lots of click track (the fake chorus in the funeral scene is particularly jarring), I only counted about 6 musicians. Wouldn't expect it to be particularly expensive to run.
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716 posts
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Post by theatre-turtle on Aug 4, 2017 21:37:08 GMT
I was in row P as well tonight (£35). Which seats were you in?
I thought this was really good actually. Too tired now but I will post a review tomorrow. I agree with you about fidgeting too. It's a very quiet play, and a theatre that doesn't carry sound well. We were near a lot of people with ice in their glasses and ruffling coats etc. (why?!?!?)
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716 posts
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Evita
Aug 3, 2017 18:40:56 GMT
Post by theatre-turtle on Aug 3, 2017 18:40:56 GMT
What's the best offer for this?
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716 posts
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Post by theatre-turtle on Aug 1, 2017 18:37:44 GMT
I thought it was boiling, just like it was for Titanic. You'd have thought they could sort it out by now? Also I spotted several mice scurrying around.
Musical was great though! Cute guys, moving story, good music, tap dancing, naked torsos extra sweaty from the heat, having a yank etc.
My (homosexual) partner HATED it though, he said it was cheesy and hard to believe.
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716 posts
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Post by theatre-turtle on Jul 31, 2017 21:37:23 GMT
For me this is a 4* play.
I found the first act gripping, and very realistic. The characters were highly identifiable.
I thought the 'twist' was very effective. I can't think of a time when I've been more shocked at a sequence of events.
I found it lost a bit of momentum in the second act and introduced too many new themes and characters too quickly. I think it was still a very strong act though.
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716 posts
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Post by theatre-turtle on Jul 29, 2017 11:25:05 GMT
Why are there so many new plays about Chemsex/ Grindr/ orgies etc.? Am I the only gay who doesn't do those things?
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716 posts
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Post by theatre-turtle on Jul 28, 2017 10:23:19 GMT
Yes, it was interesting. I didn't realise Colman had, well, I suppose stage fright or something - I assumed she didn't do stage work because she was so much in demand elsewhere. The Tom Stoppard point was a good one - ironically, when I read the synopsis a few weeks ago I worried that it might be a bit Tom Stoppard-y: I really don't like his work, 'aren't I clever?' but without much in the way of human warmth. Mosquitoes generally felt like the opposite. Btw, anyone who saw it in early previews. I saw it on Saturday and there's an event near the end which, in the playtext, is caused by one character but in the play I saw on Saturday by another, in a way which really changes the way you view a plot thread. the end of the world event, in Saturday's preview, was caused by Luke: in the text by a scientist called Gavriella. I wondered how late in the day the change was made? Haven't seen it yet - going on 23rd September (long wait!) I'm glad you think it's not too Stoppardy-clever-clever. I'm generally a fan Sir Tom but the recent Travesties tested my patience beyond endurance. Frankly I've never seen a play that was more up itself. re Colman - She often comes over quite vulnerable and self deprecating in interviews (as she did in this one) and I think that's why people warm to her. It's quite a pedestrian and banal family drama. Nothing like Stoppard. I'd compare it to an episode of Eastenders - people with personality disorders who take it out on their equally messed up family members The science in the marketing is a misnomer and doesn't form an important part of the plot at all.
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716 posts
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Post by theatre-turtle on Jul 28, 2017 10:05:57 GMT
I saw it last Thursday and it was Gavriella
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Post by theatre-turtle on Jul 27, 2017 15:11:30 GMT
I'd let him ruin my sleep.
Not the most convenient of locations for us. How inconsiderate.
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716 posts
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Post by theatre-turtle on Jul 26, 2017 17:34:37 GMT
Reviewers VERY generous with this
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Post by theatre-turtle on Jul 25, 2017 18:02:33 GMT
Their Facebook page has just put up a link for best seats £17.50 How do you get this price? The link takes me to the normal page
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716 posts
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Post by theatre-turtle on Jul 23, 2017 11:11:04 GMT
The guy playing Thuy is cute
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Post by theatre-turtle on Jul 20, 2017 22:29:51 GMT
Dare I tweet this thread to her? Some people are in trouble...
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Post by theatre-turtle on Jul 20, 2017 22:23:32 GMT
Live and let live.
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Post by theatre-turtle on Jul 20, 2017 22:19:31 GMT
First half - 3.5*, second half (a generous) 3*. Overall 3* - will post more detailed thoughts tomorrow
It ran 3 hours tonight. Too messy, entangled in its own metaphors, needs editing. Science bits were NOT used effectively despite it being a vital theme - used more as a tedious accessory than to drive the plot.
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716 posts
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Post by theatre-turtle on Jul 20, 2017 18:24:13 GMT
Here tonight
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Post by theatre-turtle on Jul 20, 2017 14:16:06 GMT
Stuart Neal (plays billy) was dripping with sweat when I saw it too but to be fair he does a huge amount of the singing and dancing and much of it is in heavy costume - for example in Dames he's wearing full black tie and a top hat.
The ladies wear comparatively little so have more 'breathable' outfits. Interesting double standard that.
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716 posts
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Post by theatre-turtle on Jul 19, 2017 12:44:18 GMT
Wouldn't it be more cost effective just to go around the corner and see a live sex show? You also wouldn't have to sit through a 1 hour 40 second Act
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716 posts
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Post by theatre-turtle on Jul 17, 2017 22:42:45 GMT
Can someone give a brief summary of what's going on? It's quite confusing to follow from this stage...
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716 posts
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Post by theatre-turtle on Jul 17, 2017 22:34:32 GMT
I agree with the previous comment about how we get so many plays/films/TV about a white person's guilt and reconciliation about his/her experiences with the developing world, with characters from these countries serving as plot devices to pave the way for such journey.
Obviously this is a salient issue in the circles these playwrights run in.
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716 posts
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Post by theatre-turtle on Jul 17, 2017 22:20:42 GMT
I always get home too late to write a proper review (am quite knackered and emotionally drained from this).
Some quick thoughts
- The script is mostly excellent, as are the acting performances, especially from Lorna Brown and Justine Mitchell
- I thought the first half was stronger. The 'journey' is very convincing and I think it's much like the train of thought most people go through when contemplating the issue. First thinking it's a business transaction, before opening pandora's box of ethical and moral difficulty that comes with commercial surrogacy
- For me the weakest scenes were the ones with the surrogate. It seemed like she was sometimes doing random things that didn't serve much purpose beyond being a very long metaphor. I found myself being taken out of the action, and there were several scenes in the second half that I thought went on too long without furthering the play much.
- The strongest scenes for me were the ones between the protagonist, her father and her father's nurse. Some of the dialogue was razor sharp and really got to the heart of the extent we've detached ourselves from direct responsibility for the family - both the duty to look after her father and the carrying of her child had been outsourced, in the name of capitalist efficiency. It reminds me of the people I know in China and Hong Kong who work non-stop and have their childcare AND parental care needs outsourced to a plethora of nannies and servants. Confucius weeps in his grave.
- An obvious comparison is the recent version of Yerma. For me Bodies is a much more realistic and convincing story. Although it's not quite the visual spectacle, this is a much more thought provoking play that will stay with me longer.
Moderately enthusiastic reaction from the crowd. No standers or anything but definitely an appreciative audience.
3.5/4 stars out of 5 for me.
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Post by theatre-turtle on Jul 15, 2017 15:12:43 GMT
They're saving it for the return of Common
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Post by theatre-turtle on Jul 13, 2017 20:13:04 GMT
The content on Theatremonkey is just too comprehensive and high quality for it to plausibly be the work of one person.
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716 posts
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Post by theatre-turtle on Jul 13, 2017 18:49:13 GMT
I would have guessed a sizable chunk of her fans are of the younger variety (Glee/Wicked type demographic) - can they really afford the tickets?
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716 posts
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Follies
Jul 13, 2017 17:57:49 GMT
via mobile
Post by theatre-turtle on Jul 13, 2017 17:57:49 GMT
Could the shortfall be partly because of lower than expected receipts from Common, Salome and Ugly Lies The Bone etc etc?
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