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Post by solotheatregoer on May 14, 2024 22:34:09 GMT
Completely forgot JL directed Faustus with Kit Harington. That really was terrible. I remember it was cancelled on the day I went due to a burst water pipe and Kit came out in the lobby to take photos with everyone and sign posters. This was at the height of his GOT fame so it was a big deal. I managed to reschedule though and that was before JL’s minimalist transition.
At least he’s been way more consistent in his productions since then and I do think the house theme works. But I would love him to change it up every now and then.
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Post by Jan on May 15, 2024 7:25:56 GMT
I've been thinking what plays could work in Jamie Lloyd's style and the one that came to mind is The Iceman Cometh where the minimal setting would enhance the piece although it would be a long evening. Some of the Greek plays would work in that way, the best production of Antigone I've seen had no set at all and no special costumes, just as if it was a rehearsal. I've always assumed part of his reason for pivoting to the minimal was economic, his productions now look like some of the NT ones from the season when they severely restricted the budget to stage them. |
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Post by craigbowker on May 15, 2024 8:16:24 GMT
I would pay a lot of money to see a Jamie Lloyd version of Duchess of Malfi
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Post by Jan on May 15, 2024 8:55:00 GMT
I would pay a lot of money to see a Jamie Lloyd version of Duchess of Malfi I've seen one. Old Vic in 2012 with Eve Best. It was OK but not exceptional. |
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Post by Fleance on May 15, 2024 10:36:32 GMT
I would pay a lot of money to see a Jamie Lloyd version of Duchess of Malfi I've seen one. Old Vic in 2012 with Eve Best. It was OK but not exceptional. But her death scene was the best, in the three productions of the play I've seen, Eleanor Bron and Harriet Walter being the Duchess in the other two. |
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Post by Jon on May 15, 2024 13:26:30 GMT
I've been thinking what plays could work in Jamie Lloyd's style and the one that came to mind is The Iceman Cometh where the minimal setting would enhance the piece although it would be a long evening. Some of the Greek plays would work in that way, the best production of Antigone I've seen had no set at all and no special costumes, just as if it was a rehearsal. I've always assumed part of his reason for pivoting to the minimal was economic, his productions now look like some of the NT ones from the season when they severely restricted the budget to stage them. He does have a knack for attracting big names to his shows, maybe the lack of sets and costumes means more money for actors |
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Post by Jan on May 15, 2024 13:39:50 GMT
I've seen one. Old Vic in 2012 with Eve Best. It was OK but not exceptional. But her death scene was the best, in the three productions of the play I've seen, Eleanor Bron and Harriet Walter being the Duchess in the other two. I saw those three and also Janet McTeer, Gemma Arterton, Lydia Wilson and Aisling O'Sullivan. Hard to say which was the best as they all had some merit - probably the Eleanor Bron one because Ian McKellen was very good in it. |
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Post by coffeeee on May 15, 2024 16:30:39 GMT
I've been thinking what plays could work in Jamie Lloyd's style and the one that came to mind is The Iceman Cometh where the minimal setting would enhance the piece although it would be a long evening. Some of the Greek plays would work in that way, the best production of Antigone I've seen had no set at all and no special costumes, just as if it was a rehearsal. I've always assumed part of his reason for pivoting to the minimal was economic, his productions now look like some of the NT ones from the season when they severely restricted the budget to stage them. Design for plays (not musicals or Stranger Things type entertainments) isn't usually the biggest cost. The size of the cast and the weekly running costs is usually the most prohibitive part of producting theatre so I don't think that's why. I think the feeling is that it just looks "cool" which is my personal issue with Lloyd's approach to directing. He applies the same aesthetic/approach to everything. I do like some of his productions but I sometimes think it's a bit lazy and more about creating a Jamie Lloyd *brand* rather than what serves the play best. |
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Post by vandemonium on May 15, 2024 17:36:50 GMT
I had the opportunity to see two productions of Cyrano directed by Jamie Lloyd. One was at the Roundabout theatre in NYC starring Douglas Hodge, and the second was when he brought the James McAvoy production to BAM. The first production was very traditional, period sets, a prosthetic nose, period costumes, the works. While Hodge was a hurricane, the play did not affect me one iota. The second one, where the period, costumes, and nose had been stripped away, so that the focus was on the words, Martin Crimp's translation / adaptation, and the character relationships was far supieror. What some people here are referring to as "a house style," that is lazy, or that Lloyd does because he thinks "it looks cool," is to me a refreshing focus on what the plays actually are, which is the text and the relationships between the characters. I feel Lloyd's emphasis on character relationships was apparent in The Seagull as well, which I thought was the best Seagull I'd seen. Watching Daniel Monk's face fall and heart break as Emilia Clarke's Nina becomes star struck by the (for once) much younger than Arkadina Trigorin of Tom Rhys Harries IS Chekhov's play. The same razor focus on language and relationships was seen in his production of Betrayal. So for me the trajectory of Lloyd's work has been about a clearing away of non essentials. I agree with what Lloyd's productions suggest, that the plays are the words, and anything that is in their way must be excised.
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Post by Seriously on May 15, 2024 17:47:18 GMT
This seems to be more about Jamie Lloyd's previous work than R&J.
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Post by blamerobots on May 15, 2024 19:34:14 GMT
How was the sound?
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Post by ceebee on May 15, 2024 19:50:31 GMT
This seems to be more about Jamie Lloyd's previous work than R&J. I agree. O Romeo, Romeo, wherefore art thou Romeo? |
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Post by mattnyc on May 15, 2024 22:11:06 GMT
Just how much video is used in this?
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Post by nash16 on May 15, 2024 22:40:30 GMT
I've seen one. Old Vic in 2012 with Eve Best. It was OK but not exceptional. But her death scene was the best, in the three productions of the play I've seen, Eleanor Bron and Harriet Walter being the Duchess in the other two. I was about to say: that death scene. Phew! Sorry. Back to Thomas. |
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Post by Steve on May 15, 2024 23:00:30 GMT
This seems to be more about Jamie Lloyd's previous work than R&J. I agree. O Romeo, Romeo, wherefore art thou Romeo? Lol. Never was a story of more woe, than having not yet seen Lloyd's Romeo.  |
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Post by 141920grm on May 15, 2024 23:15:56 GMT
Just how much video is used in this? it's a ~2.35:1 transparent LED screen about the full width of the stage mounted on a gate/railing-like set piece that flies in and out vertically when needed. 85% of the video is what's already happening onstage albeit from a different, sometimes more cinematic angle. the screen is also used to display the days of the week (in the same font and colour as Sunset's branding, I hazard to say) |
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Post by mattnyc on May 15, 2024 23:21:39 GMT
So there’s video for the entirety of the show?
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Post by 141920grm on May 15, 2024 23:40:58 GMT
So there’s video for the entirety of the show? I didn't say that. I meant it's dotted throughout, when the screen comes down there'll be video |
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Post by ntherooh on May 16, 2024 11:27:56 GMT
Lots of new tickets available for 90 right now!
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Post by A.Ham on May 16, 2024 11:58:24 GMT
Lots of new tickets available for 90 right now! Selling quick! But they certainly make the end of row D ones behind them look overpriced at £275. Is the view really £185 better one row back?! |
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Post by aspieandy on May 16, 2024 12:26:11 GMT
Well, it is a view of roller-painted chipboard and a guy who can't act well on stage, in a play we all know.
I guess part of what Jamie Lloyd does is pragmatically create a sense of FOMO, and builds release tranches around that. Clever stuff.
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Post by onmyway on May 16, 2024 12:37:22 GMT
For people who have seen it, how violent is it? The website gives age guidance as 15+ but resale ticket sites say 12+ - am assuming the official website is the correct age rating but debating whether to take my daughter next week or just go with a friend. Am wondering how bad it can be with no set 😂
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Post by solotheatregoer on May 16, 2024 13:20:40 GMT
For people who have seen it, how violent is it? The website gives age guidance as 15+ but resale ticket sites say 12+ - am assuming the official website is the correct age rating but debating whether to take my daughter next week or just go with a friend. Am wondering how bad it can be with no set 😂 It's really not violent at all but it depends how old your daughter is. There's a lot of fake blood but not a huge amount of physical violence. It's more just a tense atmosphere throughout with bright lights, loud noises and of course dark themes. No problem for 12+ in my opinion. |
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Post by monsieurmarshall on May 16, 2024 14:29:47 GMT
I'll be seeing it from the very back of the upper circle - do we think the screen will be visible? will anything important be missed?
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Post by blamerobots on May 16, 2024 15:46:11 GMT
It's giving "11. On The Balcony Of The Casa Rosada / Don't Cry For Me Argentina".
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