836 posts
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Post by duncan on Nov 3, 2016 12:23:14 GMT
Damned by Despair still got three stars! Which I'd agree with, I see from my spreadsheet I rated it 5/10.
That Damned by Despair has become shorthand for a poor production baffles me, in-I is one of the worst things I've ever seen (one of the few productions I've ever rated 1/10) and yet no one seems to mention that as a dreadful National production.
Opinions and all that.
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4,153 posts
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Post by kathryn on Nov 3, 2016 15:45:32 GMT
Damned by Despair still got three stars! Which I'd agree with, I see from my spreadsheet I rated it 5/10.
That Damned by Despair has become shorthand for a poor production baffles me, in-I is one of the worst things I've ever seen (one of the few productions I've ever rated 1/10) and yet no one seems to mention that as a dreadful National production.
Opinions and all that.
Didn't see in-I. Prior to Damned by Despair Fram was the worse thing I'd seen in the Olivier. I think those of us who rate DbD as terrible saw it during previews - it had changed considerably by press night. Also, it was terrible, but I wouldn't have missed it for the world! Unlike Fram, which was just a snooze-fest. |
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Post by Deleted on Nov 3, 2016 22:09:01 GMT
I got a freebie for Damned By Despair, and I went before they cut the flaming skeleton, so I have some fondnesses for it.  |
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2,452 posts
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Post by theatremadness on Nov 3, 2016 22:26:07 GMT
I know we're going slightly off-topic about Damned by Despair, but our Voice & Text teacher at drama school recommended that we all go see Damned by Despair at the National, so off a large group of us went, got the £12 travelex tickets on the day, and I was a little excited, knowing Bertie Carvel was going to be in it. I wouldn't necessarily say it was 'bad' (I've seen worse, recently The Entertainer at The Garrick, imho!), but gosh it was sooooo booooooooring. Can't remember much, if anything, about it.
Well we come back next term, and our teacher asks "So, how was Damned by Despair?". We all quietly and tentatively say that we didn't think it was very good, worried that a wonderful play at The National had gone right over our heads, and teacher says "I know. But isn't the voice work good!".
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Post by crabtree on Nov 3, 2016 22:35:07 GMT
anyone remember Square Rounds? Oh my.....
actually, I didn't rate Frankenstein...certainly spectacular but underwhelming at the same time
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Post by Deleted on Nov 3, 2016 22:50:00 GMT
I loved the production of Frankenstein - the lighting was stunning, and I still listen to the music - but it's some of the worst writing I've ever paid to see, and some of the performances were flat-out terrible.
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Post by ldm2016 on Nov 4, 2016 9:20:02 GMT
I loved the production of Frankenstein - the lighting was stunning, and I still listen to the music - but it's some of the worst writing I've ever paid to see, and some of the performances were flat-out terrible. Cumberbatch is the most over-rated actor of his generation or, possibly, the last few. |
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Post by ctas on Nov 4, 2016 13:26:39 GMT
I had a ticket from a friend who's a patron for a preview of Amadeus and loved it, but didn't imagine the wrath of my jealous mother in going without her. I've been trying to get the Friday rush tickets each week to make it up to her but no luck... does anyone know what the day seat situation is at the national other than the info on their site (9:30, £15 etc etc.) I've never tried to wait/queue for any there. Any experience or info would be welcomed! I've got to get my favourite daughter status back...
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Post by Deleted on Nov 4, 2016 14:10:31 GMT
I had a ticket from a friend who's a patron for a preview of Amadeus and loved it, but didn't imagine the wrath of my jealous mother in going without her. I've been trying to get the Friday rush tickets each week to make it up to her but no luck... does anyone know what the day seat situation is at the national other than the info on their site (9:30, £15 etc etc.) I've never tried to wait/queue for any there. Any experience or info would be welcomed! I've got to get my favourite daughter status back... I did it once a couple of years ago (can't remember for what) and it was all very jolly and nice. I do recall there being people at the front of the queue with little seats and things so I guess they'd been there a fair bit. Not sure I'd particularly like to do it in the middle of November though. It looks like on the website that there will be continuing performances beyond 2nd February and those go on sale late November so you could wait until then and book online. |
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Post by Snciole on Nov 4, 2016 15:39:46 GMT
I still talk about Damned by Despair's fiery robot with fondness but it ranged between dull and outrageously camp. It is the sort of thing that if the Arcola or some other smaller theatre had done it there would be no discussion but this was the National Theatre! It was hot mess (literally from my G row stalls seat when the fire appeared, no wonder the drum is busted) and what stands out is how badly it did by the end of the run. They couldn't even give away comps.
I went to see Peter Pan Goes Wrong and there's a scene where the revolve won't stop moving. "I bet the Nash wishes the Drum still did that" I thought to myself.
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Post by Deleted on Nov 4, 2016 18:16:03 GMT
Few seats dotted about for tomorrow (matinee and evening) I see.
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Post by mtchairs on Nov 4, 2016 21:20:09 GMT
I have a single front row circle ticket for Amadeus on Monday evening 7 November that I can no longer use. What is my best option for getting my money back? Will NT give me a refund to my credit card if they are able to resell it, or am I able to sell it directly to someone in the day seat/returns queue? I have the hard copy ticket but am not arriving in London until Monday morning from Australia.
Thanks for the advice.
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Post by Deleted on Nov 5, 2016 13:11:54 GMT
Well. If there isn't an Olivier Award with Adam Gillen's name on it there is just no justice in the world.
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5,690 posts
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Post by lynette on Nov 5, 2016 13:44:06 GMT
I have a single front row circle ticket for Amadeus on Monday evening 7 November that I can no longer use. What is my best option for getting my money back? Will NT give me a refund to my credit card if they are able to resell it, or am I able to sell it directly to someone in the day seat/returns queue? I have the hard copy ticket but am not arriving in London until Monday morning from Australia. Thanks for the advice. Phone box office and ask them to sell it. Don't sell to queue at theatre, poor etiquette! Or give/sell it to a friend when you arrive. ( maybe someone on the plane could use it - auction it for charity) |
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2,848 posts
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Post by couldileaveyou on Nov 5, 2016 20:54:59 GMT
I'm here right now, it's interval. I'm absolutely loving it (but agree on what you said on Mozart, he's just too much. But I suspect it's misdirection rather than overacting).
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2,848 posts
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Post by couldileaveyou on Nov 6, 2016 1:22:46 GMT
I think I liked the first part better. I mean, the second is also very good, but if the first act is a 5*, the second act is "just" a 4* for me. It was probably too long for its own good and maybe the final confrontation between Salieri and Amadeus is not as strong as the image of Salieri helping Mozart to write down the Requiem, like in the movie. I loved how visual the production is, it reminded me of Greenaway's Prospero's Books, Coppola's Marie Antoinette and Raphael's The School of Athens. I loved the tableaux in the scenes where Mozart explains how revolutionary Le Nozze di Figaro is or the image of Salieri in all his glory with people crawling at his feet. I mean, I also felt it was a bit too much, but I loved it all the same.
I loved how they used the singers and the orchestra, they created all those haunting images: the moment when they walk slowly singing and playing Lacrimosa or the nightmarish pastiche of Die Zauberflöte. There was no orchestra in the original production, wasn't it? I'm sure I remember that the stage direction specifies that Katherina sings in play-back, so it's good she sings live here. I mean, they did the best they could to enlarge female roles. In the original version there are only the two silent roles of Katherina and Teresa (Salieri's wife) and then there is Constance who does all the talking. It's good that both Teresa and Katherina sing and it's great that one of the Venticelli is now a woman. They gender-bent (is that even a verb?) Count Johann Kilian von Strack, now played by Alexandra Mathie, which was a bit random since it was the only genderbent role in the show. Still good, tho.
I'd like to mention Tom Edden as Joseph II, he was terrific imo, a true character actor. I remember loathing him in Les Miz, but I really loved him here. I adored Lucian Msamati as Salieri, he should win the Olivier. I'm perplexed about Adam Gillen because I didn't like what he did as Mozart, but there was greatness in it. I don't know if it makes sense, but for me he was doing a "wrong" thing but he was doing it incredibly well.
I feel like the second part was a bit of a let down after the perfect first act, but it's such a fantastic play and production, see it if you can!
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2,848 posts
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Post by couldileaveyou on Nov 6, 2016 1:23:23 GMT
On a side note, the house version of Symphony 25 was so good it gave me a boner
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Post by Deleted on Nov 7, 2016 9:06:24 GMT
I'd like to mention Tom Edden as Joseph II, he was terrific imo, a true character actor. I remember loathing him in Les Miz, but I really loved him here. I adored Lucian Msamati as Salieri, he should win the Olivier. I'm perplexed about Adam Gillen because I didn't like what he did as Mozart, but there was greatness in it. I don't know if it makes sense, but for me he was doing a "wrong" thing but he was doing it incredibly well. Agree! Tom Edden was great. There's a great interview on WOS with him where he talks about being desperate to be in this production. Don't really agree about Lucian Msamati though. He was the weakest link for me. I don't know what it was but there were some good parts individually but it just didn't add up to a particularly strong performance. I adored the play and loved the music and the staging but for me, the whole thing did sag just a touch whenever Adam Gillen was off stage. And when he was on it, I just thought he was utterly sensational. I know Salieri is usually the award-winner role but in this particular production I think it would be a real shame if Msamati would get the Olivier over Gillen. |
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Post by Deleted on Nov 7, 2016 10:24:15 GMT
I'd like to mention Tom Edden as Joseph II, he was terrific imo, a true character actor. I remember loathing him in Les Miz, but I really loved him here. I adored Lucian Msamati as Salieri, he should win the Olivier. I'm perplexed about Adam Gillen because I didn't like what he did as Mozart, but there was greatness in it. I don't know if it makes sense, but for me he was doing a "wrong" thing but he was doing it incredibly well. Agree! Tom Edden was great. There's a great interview on WOS with him where he talks about being desperate to be in this production. Don't really agree about Lucian Msamati though. He was the weakest link for me. I don't know what it was but there were some good parts individually but it just didn't add up to a particularly strong performance. I adored the play and loved the music and the staging but for me, the whole thing did sag just a touch whenever Adam Gillen was off stage. And when he was on it, I just thought he was utterly sensational. I know Salieri is usually the award-winner role but in this particular production I think it would be a real shame if Msamati would get the Olivier over Gillen. I don't think either of them will be getting the Olivier... |
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Post by kathryn on Nov 7, 2016 12:51:35 GMT
Team 'Damned by Despair wasn't that bad.' The script was awful but Bertie Carvel arse-up in bondage has got to be worth at least half a star, no? I don't think we got him arse-up in bondage during previews. There was a weird scene where he was manacled and, if I remember rightly, the chains kept moving up and down slowly as if he was doing some kind of rhythmic gymnastics routine. And then it took about 5 minutes to clip him into the harness for the hanging scene. It has to be said, over the past few years I've seen lots of perfectly enjoyable but ultimately forgettable productions at the NT. At least Damned by Despair was memorable! |
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Post by barelyathletic on Nov 8, 2016 12:35:30 GMT
Back to the play... And I have to agree with most on here. What a disappointment. The live music is lovely but having the orchestra on stage doesn't really add to the play. If anything, apart from that last glorious moment with the Kyrie at the end of Act One, it's all a bit distracting.
And the acting? Lucian Msamati (who I have loved in everything else at the NT) is underpowered both vocally and dramtically here, only coming into his own in the big defiant speeches. Adam Gillen is just one note, screechy, annoying. Where's the pathos? The child like quality that hides and powers genius? His Mozart is just a farting, spitting, swearing brat. That should be only the first level of the character. Karla Crome's sullen Constanza has no charm or sensuality and the rest of the cast add nothing. They don't even look good. The costumes look cheap, the lighting is muddy and the set is just plain dull.
And yet, and yet, the power of the story still somehow manages to shine through. There are moments when Shaffer's sense of theatre and love of the big theatrical moments still catches at you, 37 years on. But how I wished for Paul Schofield, Simon Callow, Felicity Kendall, Frank Findlay, Richard O' Callaghan, David Suchet, Michael Sheen or F Murray Abraham and Tom Hulce, to give this play the respect and the production it deserves. Sadly, this one isn't it.
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Post by ctas on Nov 23, 2016 23:45:06 GMT
Booked some seats for mid February today (as well as Twelfth Night and Hedda Gabler in the spring), can't wait to go again!
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Post by rumbledoll on Nov 24, 2016 8:03:03 GMT
For those who have seen this or PP - do they use the revolve at Olivier right now? I'm aware of the foundraising project to get it technically maintained/fixed - just wondering do they put it on stand-by for a while. Hard to imagine this theatre without the magical scene changes the revolve is capable of.
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Post by mistertonymac on Nov 29, 2016 10:53:29 GMT
Dramatic scenes at the Olivier last night.
A loud crash and a shriek 20 mins into the second half. Play Carried on for 5 mins then was stopped as an actor had fallen and was then trapped or at least injured back of stage.
Was at least a 35 min pause (then I along with scores of others had to leave as was going to finish post 11.30) before it presumably restarted.
Thought it was great till then and am hoping that they can replace tix.
The thrill of live theatre!
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Post by Deleted on Nov 29, 2016 11:56:27 GMT
Yikes. Hope the casualty was OK!
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