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Post by Deleted on Jun 25, 2016 19:44:24 GMT
Big pile of sh*t
Just left at interval
Stephen Dillane hasn't even learnt his lines
2 awful prompts
And once the prompter wasn't even paying attention as there was this awful pause
Whilst he stared into space like a Tw*t
His boredom was palpable
Why do actors agree to such terrible plays?
Are they THAT desperate for work?
Most of the audience were napping or wondering if Dillane would boob up again
Gina McKee lovely to listen to
But the monologues are just so boring
It should be a radio play
The programme has the most arrogant article
With the line "you may be surprised even shocked to find you emerge from the theatre a changed person"
Where the f*** do they get these people from
What happened in the referendum changes people
Not watching an irrelevance of a performance where one actor can't even be arsed to learn his lines or even bother making any effort in delivering them
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Post by Deleted on Jun 25, 2016 19:48:00 GMT
Forgot to add
That having a waterfall as the set does NOT cover the fact the play is boring as hell
In fact it makes it even more glaringly obvious
And has no relevance to the story in any way shape or form
Pointless evening out
And pales into nothingness compared to what has happened this week anyway
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Post by Deleted on Jun 25, 2016 19:52:09 GMT
And Lyndsey Turner is an awful awful director
Heavy handed
The only thing directed by her I liked was Posh
And that was not a hard play to direct
Even Chimerica which had merits was rendered a pastiche due to the lack of any basic skills
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Post by Deleted on Jun 25, 2016 20:05:55 GMT
What a shock. Parsley didn't like something. Any other news anyone?  |
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Post by foxa on Jun 25, 2016 20:12:18 GMT
You've certainly whetted my appetite for this one. ;-)
This was a bit of a dodgy booking for me - I don't really like monologues, but I do like Gina McKee and I've never seen the play so I opted for a couple of cheap seats. Which I may live to regret.
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Post by Boob on Jun 25, 2016 20:38:43 GMT
I hope you like Gina McKee too, otherwise you'll be bitterly disappointed. (Although the rest of the theatregoing public will probably be relieved)
Brian Friel plays are, for me, the theatrical equivalent of a Nytol, so I shall be avoiding this. And have to agree with my dear Spicey about Turner - Posh was indeed her best work.
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Post by Deleted on Jun 25, 2016 20:47:02 GMT
I think STEVE was there this evening?
In the front row stalls?!
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Post by Deleted on Jun 25, 2016 22:41:22 GMT
Faith Healer is the actual play title.
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1,476 posts
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Post by Steve on Jun 25, 2016 23:00:05 GMT
I think STEVE was there this evening? In the front row stalls?! Parsley, Parsley, there's no one like Parsley, He's at so very many plays, yet spotted only sparsely. You may see him in the first half, if you see him anywhere — But in the play's second half, Parsley's not there! I regretted buying the ticket the moment the line flubs started happening, and wished I went next week instead, but when I trialed the £10 Barclays tickets two weeks ago, and got offered front facing stalls, I couldn't resist. Incidentally, I believe Ken Stott flubbed his lines playing the same part at the Almeida press night years ago. Apparently Brian Friel was none too happy, as his words are everything to him, so Stephen Dillane had better get some practice in. I think it's a mesmerising play, but line flubs throw you right out of it, and the hypnotic intensity of those poetic words is lost. Anyway, it's too early in previews to moan, so what I will highlight is that Ron Cook is giving one of his best performances in this. He's absolutely wonderful, blunt, forceful and hilariously funny! This is a play of 4 monologues. At present, the first and fourth, by Dillane, need work. The second, by Gina McKee is dreamy, sad and mesmeric. But that third monologue by Cook is the absolute bees knees. Obviously, this play can't work as it should if all 4 monologues are not tip top because the Rashomon-like structure requires complete concentration on all 4, combining the action of each in your mind to build up a full picture of the events that each of the monologues describe. So for now, at this early preview, the only thing I'm genuinely over the moon about is Ron Cook. I will consider going again later in the run, depending on the word of others, as tonight, this just didn't cohere for me. In fact, the audience didn't even realise when the play had finished at fade out, and noone started clapping until the lights came back on, and all the actors returned to take their bows. Needless to say, the actors did not come back out a second time. |
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Post by Deleted on Jun 25, 2016 23:10:50 GMT
At Simon Godwin's Bristol Old Vic Studio production, all the regular audience seating was removed and replaced with a jumble of wooden chairs and stools of assorted heights and shapes. So we were sitting in all the halls ever travelled to by the characters.
I love this play. I hang on every word, with their dual characteristics of crystal clarity and utter mystery.
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Post by Deleted on Jun 25, 2016 23:12:05 GMT
I think STEVE was there this evening? In the front row stalls?! Parsley, Parsley, there's no one like Parsley, He's at so very many plays, yet spotted only sparsely. You may see him in the first half, if you see him anywhere — But in the play's second half, Parsley's not there! I regretted buying the ticket the moment the line flubs started happening, and wished I went next week instead, but when I trialed the £10 Barclays tickets two weeks ago, and got offered front facing stalls, I couldn't resist. Incidentally, I believe Ken Stott flubbed his lines playing the same part at the Almeida press night years ago. Apparently Brian Friel was none too happy, as his words are everything to him, so Stephen Dillane had better get some practice in. I think it's a mesmerising play, but line flubs throw you right out of it, and the hypnotic intensity of those poetic words is lost. Anyway, it's too early in previews to moan, so what I will highlight is that Ron Cook is giving one of his best performances in this. He's absolutely wonderful, blunt, forceful and hilariously funny! This is a play of 4 monologues. At present, the first and fourth, by Dillane, need work. The second, by Gina McKee is dreamy, sad and mesmeric. But that third monologue by Cook is the absolute bees knees. Obviously, this play can't work as it should if all 4 monologues are not tip top because the Rashomon-like structure requires complete concentration on all 4, combining the action of each in your mind to build up a full picture of the events that each of the monologues describe. So for now, at this early preview, the only thing I'm genuinely over the moon about is Ron Cook. I will consider going again later in the run, depending on the word of others, as tonight, this just didn't cohere for me. In fact, the audience didn't even realise when the play had finished at fade out, and noone started clapping until the lights came back on, and all the actors returned to take their bows. Needless to say, the actors did not come back out a second time. Love love my song Thank you Xxxx |
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Post by Steve on Jun 25, 2016 23:20:29 GMT
Parsley, Parsley, there's no one like Parsley, He's at so very many plays, yet spotted only sparsely. You may see him in the first half, if you see him anywhere — But in the play's second half, Parsley's not there! Love love my song Thank you Xxxx Haha. To exonerate myself from plagiarism charges, credit goes to T S Eliot (ie Cats). I swapped you for Macavity: The Mystery Cat. |
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Post by DuchessConstance on Jun 26, 2016 0:49:43 GMT
The device used to cover the scene changes is truly stunning.
Otherwise, I agree- the group I was with all adored Ron Cook's wonderful, wonderful monologue, enjoyed Gina McKee's very affecting monologue (it's far less showy and audience-pleasing than Cook's monologue but she did a brilliant job of connecting with the audience and trying to bring them in), and thought the opening and final ones were pretty bad. Stephen Dillane aimed all his lines at a patch of floor in front of him, in a low mumble. Combined with his accent it made it difficult to hear what he was saying. But worse was the complete disconnect with the audience. Granted he did get better, and his second monologue was much better than the first. But really no one goes to the theatre to see a man mumbling at his shoes.
Shame, because it's a cracking play. But Ron Cook is worth the £10 front row tickets alone. Hopefully it will get better by press night.
Amusingly, Dillane turned the wrong way during the bows and Ron Cook had to turn him round.
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Post by ATK on Jun 26, 2016 11:09:07 GMT
Given that the play is composed of monologues, are there any sightline issues for those seated at the sides?
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Post by DuchessConstance on Jun 26, 2016 11:57:53 GMT
No, the set is almost bare and each actor sits or stands in the middle of the stage. Cook and McKee do a good job of looking around and making eye contact with and generally addressing themselves to the entire audience (sides and circle).
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Post by ATK on Jun 26, 2016 14:02:20 GMT
No, the set is almost bare and each actor sits or stands in the middle of the stage. Cook and McKee do a good job of looking around and making eye contact with and generally addressing themselves to the entire audience (sides and circle). Thanks! The sides are always a gamble. |
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Post by mrbarnaby on Jun 26, 2016 16:15:25 GMT
Parsley- are you a He or a She?
I'm confused. One minute I thought you were female.. Are you transitioning?
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Post by Berowne on Jun 26, 2016 20:57:32 GMT
Oh no. I was really looking forward to this. It was the only thing I booked in advance for this Donmar season purely on the strength of loving the Bristol Old Vic production. It was on my favourites list for that year. I am a bit of a Finbar Lynch fan so perhaps that helped but from what I remember the performances in all three roles were excellent and the set with its mismatched chairs which HG described above added to the atmosphere.
I am not seeing this until the end of July so will not give up hope just yet.
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Post by chameleon on Jun 26, 2016 23:20:26 GMT
Parsley- are you a He or a She? I'm confused. One minute I thought you were female.. Are you transitioning? Parsley is a sprig. |
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Post by littlesally on Jun 28, 2016 16:53:18 GMT
Parsley- are you a He or a She? I'm confused. One minute I thought you were female.. Are you transitioning? Parsley is a sprig. Parsley's a lion! |
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Post by mrbarnaby on Jun 28, 2016 19:21:07 GMT
What is the scene change device they use?
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433 posts
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Post by DuchessConstance on Jun 28, 2016 20:33:05 GMT
A sort of lit-up silver waterfall (with real water) that falls in curtains at the front and sides of the stage. The water starts falling at the end of each scene, hiding the entire playing areas, and when it stops the new set is in place.
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Post by Marwood on Jun 28, 2016 20:53:35 GMT
Not seeing this until August, hoping everyone involved has learnt their lines by then, and if not - ah well, it's one more Game Of Thrones actor to tick off the list I've seen.
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Post by showgirl on Jun 29, 2016 3:52:09 GMT
Libby Purves (Theatrecat) has given it 5 stars; might try for a Barclays ticket after all.
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Post by Deleted on Jun 29, 2016 6:59:50 GMT
She also awarded 5 stars to Bend it like Beckham
And said it would run and run
Did you quickly book for that show based on her wisdom?
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