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Post by Dave B on Jun 29, 2023 12:09:47 GMT
Headlong's production tours the three venues September through November.
8 - 30 sept at Octagon theatre Bolton
6- 28 oct at Chichester Festival theatre
31 oct - 11 Nov at Rose theatre
I noticed it as Seatplan's current sale has good seats in Rose for half price and I grabbed us a couple of them.
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Post by alicechallice on Jul 25, 2023 10:12:49 GMT
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Post by Jan on Jul 25, 2023 11:09:07 GMT
I see they have changed the director. |
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Post by alicechallice on Jul 25, 2023 12:12:53 GMT
I see they have changed the director. Yes, though that's been on the various theatres websites for at least a month now. |
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Post by david on Sept 16, 2023 21:06:58 GMT
A really great watch for me at today's matinee at Bolton Octagon. With a run time of around 2hrs 25 mins (Act 1 = 80 mins, Act 2= 45 mins with a 20 min interval), director Holly Race Roughan and her team have put together an engaging and powerful piece full of tension and emotion that doesn't let up the entire time. Somehow, I have managed not to have any dealings with this classic Miller play either at school or any stage version, so as my first contact with this play was a really positive one today. The issues that the play deals with are still relevant today as they were when Miller wrote the play and gives the audience plenty to think about after watching it.
The set design from Moi Tran is very simplistic and sparse with a single swing at the edge of the stage and a few plain black chairs (and 2 record players) used by the cast dotted around the stage. Thankfully there is some visual interest with a balcony and stairs to provide a 2 layered set. There is a mirror-finish floor that helps give the idea of water around the docks and a big red neon sign saying "Red Hook". For me the absence of any big set pieces worked well in that it allows the text and performances to be front and centre in this production and making full use of the performance space. Costumes (also from Tran) are of period design.
The lighting and sound design from Alex Fernandes and Max Perryment respectively work really well here in helping to turn up the tenion and emotion as the play's tragic events play out (especially so in the final scene).
A fantastic cast has been assembled here each playing their part in bringing Miller's work to the stage. The trio of Jonathan Slinger (Eddie), Kirsty Bushell (Beatrice) and Rachelle Deiedericks (Catherine) work really well together as the family. All the cast portray their characters as fully rounded and believable (with convincing Brooklyn accents). The changing relationships and family dynamics between the three are a joy to watch and all 3 command the stage with their performances. Shout out to Nancy Crane as Alfieri who keeps a watchful eye on proceedings either from the back of the set or from the balcony as the family is torn apart.
Whilst Act 1 is of a slower pace, the more powerful and devastating Act 2 more than makes up it. Despite the tears and emotional high drama, thankfully there are moments of light and humour to help give proceedings a balanced tone.
The only criticism I would have with this production is the addition of a pirouetting docker that pops up every now and than. I wasn't too sure how this helped to move the narrative forward. Personally, I don't think it was needed and could of been dropped without any detriment to the overall production.
Having a read of the online reviews, the critics / bloggers are giving this a 4-5 star rating. After today's visit, I really can't argue with this and settled on a 4 star rating from my visit.
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Post by bobby on Sept 17, 2023 8:14:37 GMT
I was also at the matinee yesterday afternoon and pretty much agree with all your comments David. I know the play very well, having seen it several times, studied it and directed it in 1991. My first encounter was at the National Theatre production in 1987 at the Cottesloe Theatre. It was directed by Alan Ayckbourn and Michael Gambon gave an acclaimed performance as Eddie. It then transferred to the West End.
I also saw the production at the Duke of York's Theatre, in 2009. It was directed by Lindsay Posner, with Ken Stott as Eddie and Mary Elizabeth Mastrantonio as Beatrice
Then of course more recently at the Young Vic in 2014, I saw the Ivo van Hove production with Mark Strong (as Eddie) and Nicola Walker (Beatrice). All of these 3 carried their own merits and as the play is so well known now, it has really become a director’s piece to be able to stage it in a fresh new take and that’s exactly what this Headlong production does. All the performances are compelling and it stands well and truly alongside these other great productions I’ve seen. I also think this is probably the most chilling production I’ve seen and director Holly Race Roughan has really brought something fresh and urgent to the script. I hope it does well at the other venues it is visiting and receives more praise as it goes. It would be difficult for me not to give this 5 * as I adore the play so much.
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Post by David J on Oct 10, 2023 22:12:32 GMT
Go and see this in Chichester or Kingston if you can. I only saw the 2014 Ivo Van Hove's production before and remember how tense it was. This production you get a mixture of tension and absolute tragedy, because what starts off as a car crash in slow motion for Eddie turns into a pile up for everybody.
The cast is mostly outstanding. I went to see this for Jonathan Slinger and whilst I'm not sure where I'd put him next to Mark Strong, Slinger once again reminds me what a great actor he is. His accent isn't the most natural next to the others but he digs deep below Eddie's multi-layered surface. There comes a point in the first act where he is telling Catherine that Rodolpho only wants her to get his citizenship where his macho, man of the house persona cracks and Slinger shows vulnerability and desperation that slowly takes over him as the play goes on, and I saw what a tour-de-force performance he was giving.
Kirsty Bushell is consistently strong next to Slinger. Beneath her bravado you feel her frustration and fear for Eddie. You also sympathised for Nancy Crane's Alfieri trying to dissuade Eddie from his self-destructive path. You're not only watching the pile up happen, you're with all these characters trying to avoid the tragedy unfolding by the end. Even the supporting actors get a chance to shine like Luke Newberry as Rodolpho in his scene with Catherine.
If there was one performance that didn't stand out it for me it would be Rachelle Diedericks as Catherine. She gave a good performance but the others outshone her.
One of the best shows of the year.
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Post by emsworthian on Oct 22, 2023 8:16:36 GMT
I caught this yesterday at Chichester. Like David, who saw this at the Octogon, Bolton, this was a play I hadn't seen before and I found it tense right from the start. Some great performances.
One trivial quibble; on the side of the stage was a record player and radio, which is switched on quite early in the play. Later in the play, another radio/record player appeared towards the back of the set and this was switched on. Why the two radios/record players? It doesn't really matter but it bugged me.
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Post by theoracle on Oct 28, 2023 17:23:30 GMT
Overall found this rather unremarkable. Some good moments delivered by a pretty substantial cast but overall the piece struggled to fill the Festival space. The amount of empty seats didn’t help things along either sadly. I’d be keen to see another Miller in the space - will be interesting to see what Justin programmes in the new year. 3* from me
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Post by Jan on Nov 2, 2023 22:17:56 GMT
I saw it in Kingston. 3*.
Gender swapping Alfieri made no sense at all, Eddie simply wouldn’t have confided in a woman, lawyer or not. They shouldn’t have bothered with the accents as they were all over the place. But if you haven’t seen the play before it is worth seeing. If you *have* seen it before then you’ve seen it done better.
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Post by Dave B on Nov 4, 2023 9:56:52 GMT
Caught this in Kingston during the week, our early booked deal turned out to be the front row which was nice if intense! I agree with both david and David J above which I guess makes us three Davids agreeing which must surely signify something - I just don't know what 
I really like Slinger and aside from the moments his accent slips quite obviously, I thought he was great in this, a slow motion inevitable car crash. A fairly sold cast all around, 4 stars.
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Post by Jan on Nov 4, 2023 11:04:23 GMT
I really like Slinger and aside from the moments his accent slips quite obviously .....
His accent was very poor, like a strange mixture of New York and Glasgow and certain words mispronounced consistently throughout. I was surprised because I have liked him in the past too. However I was even less happy with Rodolpho's caricature sing-song Italian accent which was like something out of Mind Your Language. Particularly noticeable as his supposed brother Marco played by the excellent Tommy Sim'aan spoke with a far more nuanced and understated accent. |
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Post by Mark on Nov 4, 2023 11:06:35 GMT
For those who've been, how would the far side view seats be for this?
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Post by max on Nov 4, 2023 12:23:01 GMT
For those who've been, how would the far side view seats be for this? I haven't been to this show Mark, but are you aware of Secret Seats? If you click that on the seat plan, you can get a £10 ticket, and when you turn up you find out where you're sitting. I did it for another show and got a centre stalls seat (but it will vary of course). |
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Post by Mark on Nov 4, 2023 12:43:35 GMT
For those who've been, how would the far side view seats be for this? I haven't been to this show Mark, but are you aware of Secret Seats? If you click that on the seat plan, you can get a £10 ticket, and when you turn up you find out where you're sitting. I did it for another show and got a centre stalls seat (but it will vary of course). Was none of the secret seats left for today or next sat so I’ve risked a £15 seat at the side. I usually go for similar at Chichester so I’m sure ittl be fine. |
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Post by Dave B on Nov 4, 2023 13:26:33 GMT
For those who've been, how would the far side view seats be for this? I think it will be okay, I'd suggest left hand side of the auditorium just because the steps are on the right and on the very side might be annoying. Secret seats should be fine and I suspect it won't be full so you could maybe easily move. |
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Post by Mark on Nov 4, 2023 17:13:03 GMT
Luckily I had booked left hand side and you’re right! It was a really good view with just a few of the elevated moments missed. Thoroughly enjoyed this one, especially when it all picks up in the second act. Well worth a watch.
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Post by Jan on Nov 4, 2023 17:27:58 GMT
For those who've been, how would the far side view seats be for this? I haven't been to this show Mark, but are you aware of Secret Seats? If you click that on the seat plan, you can get a £10 ticket, and when you turn up you find out where you're sitting. I did it for another show and got a centre stalls seat (but it will vary of course). Yes I had a £10 ticket for this which turned out to be centre stalls slightly to one side. I shouldn’t really be complaining about it should I ? After it finished I went straight to Kingston Station and found one of the actors already there on the platform waiting for the next train back to London. That has only happened to me once before, the actor getting out faster than me. |
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Post by alessia on Nov 4, 2023 19:12:48 GMT
I haven't been to this show Mark, but are you aware of Secret Seats? If you click that on the seat plan, you can get a £10 ticket, and when you turn up you find out where you're sitting. I did it for another show and got a centre stalls seat (but it will vary of course). Yes I had a £10 ticket for this which turned out to be centre stalls slightly to one side. I shouldn’t really be complaining about it should I ? After it finished I went straight to Kingston Station and found one of the actors already there on the platform waiting for the next train back to London. That has only happened to me once before, the actor getting out faster than me. I missed that train for two minutes, was so annoyed lol. I loved the show today- I got lucky with my random cheap seat and ended up in stalls row D, it was a perfect view. I had never seen this play before and thought it was great, enjoyed this as much as the Crucible, to me equally powerful, left me quite emotional. all the actors were perfect, can't really find anything bad about this. |
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Post by Jan on Nov 4, 2023 19:57:02 GMT
Yes I had a £10 ticket for this which turned out to be centre stalls slightly to one side. I shouldn’t really be complaining about it should I ? After it finished I went straight to Kingston Station and found one of the actors already there on the platform waiting for the next train back to London. That has only happened to me once before, the actor getting out faster than me. I missed that train for two minutes, was so annoyed lol. I loved the show today- I got lucky with my random cheap seat and ended up in stalls row D, it was a perfect view. I had never seen this play before and thought it was great, enjoyed this as much as the Crucible, to me equally powerful, left me quite emotional. all the actors were perfect, can't really find anything bad about this. It’s a great play. When I saw the sensational NT production of it with Michael Gambon during the interval I was pontificating to my companion about how it seemed to be imperfectly structured as a Greek tragedy not realising till the curtain call that the old chap sitting immediately behind me listening to all that rubbish was Arthur Miller. |
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Post by alessia on Nov 5, 2023 6:47:59 GMT
I missed that train for two minutes, was so annoyed lol. I loved the show today- I got lucky with my random cheap seat and ended up in stalls row D, it was a perfect view. I had never seen this play before and thought it was great, enjoyed this as much as the Crucible, to me equally powerful, left me quite emotional. all the actors were perfect, can't really find anything bad about this. It’s a great play. When I saw the sensational NT production of it with Michael Gambon during the interval I was pontificating to my companion about how it seemed to be imperfectly structured as a Greek tragedy not realising till the curtain call that the old chap sitting immediately behind me listening to all that rubbish was Arthur Miller. OH Wow! That is incredible!!! I hope to get the opportunity to see more of his plays. Yesterday I happened to be sitting behind Rachelle Diederick's family, they must have felt so proud of her yesterday (and in general). Only knew it was them because lady next to me got chatting with them. |
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Post by Jan on Nov 5, 2023 17:17:20 GMT
It’s a great play. When I saw the sensational NT production of it with Michael Gambon during the interval I was pontificating to my companion about how it seemed to be imperfectly structured as a Greek tragedy not realising till the curtain call that the old chap sitting immediately behind me listening to all that rubbish was Arthur Miller. OH Wow! That is incredible!!! I hope to get the opportunity to see more of his plays. Yesterday I happened to be sitting behind Rachelle Diederick's family, they must have felt so proud of her yesterday (and in general). Only knew it was them because lady next to me got chatting with them. His plays don’t get revived as much as they used to. Death of a Salesman and All My Sons come around fairly often but some of the “lesser” plays like The Price and The Man Who Had All The Luck and After The Fall are also very good but harder to find. I have seen 15 of his plays and there are still some I’ve never had an opportunity to see. |
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