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Post by Deleted on Feb 10, 2017 15:28:14 GMT
Anyone seeing this? It was totally sold out but if anyone fancies seeing it cheaply they have just put the gallery on sale for all performances - all seats £10 with a warning that the subtitles will be obscured for the last 10 minutes of the show. Gets a live stream on Sunday afternoon if you want to see it even cheaper!
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406 posts
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Post by MrBunbury on Feb 10, 2017 16:33:38 GMT
Anyone seeing this? It was totally sold out but if anyone fancies seeing it cheaply they have just put the gallery on sale for all performances - all seats £10 with a warning that the subtitles will be obscured for the last 10 minutes of the show. Gets a live stream on Sunday afternoon if you want to see it even cheaper! I will watch it in live stream, since I have just blown my extra theatre budget for February to book "Moving stories" at the end of the month... |
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Post by Deleted on Feb 10, 2017 17:04:19 GMT
Tomorrow I see it
Shall report back
Love barbican
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Post by Deleted on Feb 10, 2017 20:16:27 GMT
Is the stream only available at the time or will it be up for a little while afterwards? I'm interested but busy at the precise time of the stream.
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Post by Deleted on Feb 10, 2017 22:58:13 GMT
Available on demand until Sun 26 Feb 23:59.
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Post by Deleted on Feb 10, 2017 23:16:13 GMT
Anyone else going?
I will be wearing sparkling top
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Post by Deleted on Feb 10, 2017 23:34:35 GMT
Anyone else going? I will be wearing sparkling top Less missable than a badge But please switch off power during show |
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Post by Coated on Feb 11, 2017 0:56:27 GMT
I spent the first 10 min of this grumbling since they've raised the stage by half a meter for no good reason and I got to watch performers mostly from the knee / waist upwards from row A. Some niftily placed table and chairs made sure that I didn't see too much of people at the front of the stage either....
Within 15 minutes I had forgotten about those niggles and was engrossed in the play. I thought the narration worked really well and the story unfolded deftly and surprisingly unsentimentally. The play left a lingering melancholy with me, and I'm not sure whether I should read the novel immediately or avoid it in perpetuity.
The 2 hours flew by for me, though I suspect speaking German made it easier to get completely absorbed.
It was definitely worth seeing, and I say that after a 60min cycle ride home through horizontal sleet
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Post by Deleted on Feb 11, 2017 22:21:13 GMT
To me
This demonstrates how awful a director McBurney is
I don't know why critics lick his arse so much
It's the only production from Schaubuhne I haven't liked and I have seen many from them
The only good aspect about it is the sound
Which is excellent
Otherwise it's like watching most of his plays
Like a 2 hour radio play told in the third person
Which is exactly how I felt about
The Encounter
It' makes me feel detached
For 90% of the time the characters don't even make eye contact or speak directly to each other
It's so tiresome and the story is boring
FFS
What is the story?
It is repetitive again and again the same thread of visiting this invalid girl
Who doesn't even look that unwell and just seems to have a mobility problem
Mentally and intellectually she is fine
But no one bothers to explore this
The protagonist is a bloody wet drip
Generic staging of tables spread about the stage at angles with sound and camera equipment which is barely used to any great or meaningful purpose
On a related note
Why does a play of 2 hours seem so much longer than a film of 2 hours??
SOOOOO much longer
The use of video is pointless
And anyone who saw the recent
The Forbidden Zone
Will know who is the queen of this medium
And this production just seems like a much poorer weaker watered down imitation of that
It's a shame the director is allowed to present this sh*t under the Schaubuhne name
His work lacks the sort of panache and ambition that both KM and Ostermeier possess and is entirely unthrilling
I find him anomalous and inferior within the regular Barbican alumni
The late dear Ninagawa
Our beloved KM
The amazing Ostermeier
Excellent Cheek By Jowl
Wonderful Michael Clark Company
Innovative Van Hove in Toneelgroep mode
Prestigious Lepage
The occasional veteran Deborah Warner
Thrilling Sydney Theatre Company
Edgy TR Warszawa
And then always these frigid McBurney offerings
Hate them
This is a perfect example of a semi staged unfinished idea of a concept
It's an insult to call is theatre
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Post by Deleted on Feb 11, 2017 22:30:05 GMT
Did you
Remember to
Switch off your
Sparkling top
During the performance?
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Post by Deleted on Feb 11, 2017 22:31:40 GMT
Did you Remember to Switch off your Sparkling top During the performance? Love Honoured Guest |
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Post by Deleted on Feb 11, 2017 22:36:22 GMT
I find him anomalous and inferior within the regular Barbican alumni The late dear Ninagawa Our beloved KM The amazing Ostermeier Excellent Cheek By Jowl Wonderful Michael Clark Company Innovative Van Hove in Toneelgroep mode Prestigious Lepage The occasional veteran Deborah Warner Thrilling Sydney Theatre Company Edgy TR Warszawa And then always these frigid McBurney offerings Hate them You've ignored the returned elephant in the Barbican Theatre programme. RSC And the irregulars, such as Benny C |
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Post by Deleted on Feb 11, 2017 22:47:17 GMT
I find him anomalous and inferior within the regular Barbican alumni The late dear Ninagawa Our beloved KM The amazing Ostermeier Excellent Cheek By Jowl Wonderful Michael Clark Company Innovative Van Hove in Toneelgroep mode Prestigious Lepage The occasional veteran Deborah Warner Thrilling Sydney Theatre Company Edgy TR Warszawa And then always these frigid McBurney offerings Hate them You've ignored the returned elephant in the Barbican Theatre programme. RSC And the irregulars, such as Benny C Elegant RSC 😂😂😂 |
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Post by Deleted on Feb 11, 2017 22:47:26 GMT
Oh dear, parsley... You should have stayed in like the rest of us and watched a load of sh*te on BBC1, but at least it would have been free sh*te (without a tube ride home in the cold weather.)
NB added the tube/weather bit as I guessed it was a free night out as you don't usually pay for tickets anyway
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Post by Deleted on Feb 11, 2017 22:48:34 GMT
Seriously though
This play was so frigid
Not a shred of entertainment in it
And makes a bad case for an English speaker directing a company in another language
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Post by Deleted on Feb 11, 2017 22:50:57 GMT
Oh dear, parsley... You should have stayed in like the rest of us and watched a load of sh*te on BBC1, but at least it would have been free sh*te (without a tube ride home in the cold weather.) NB added the tube/weather bit as I guessed it was a free night out as you don't usually pay for tickets anyway We drove I am now going to get a punishment from family members for tricking them into seeing this Which I deserve 😂😂😂 The irony that I saw this and Sex with strangers in the same week The two could not have had more different reviews on entirely opposite ends of the spectrum I totally loved the maligned one in comparison The tickets were paid for ages ago but were £22.05 for stalls an odd price so not sure what that was about I could lie and say I thought it was WORTHY Or I ADMIRED it |
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Post by Deleted on Feb 11, 2017 22:55:46 GMT
MUCH better
Will be the Richard III next week
Anyone
Going?
Also the programme
Is only
£2.50
For BOTH plays in one
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103 posts
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Post by sondheimhats on Feb 12, 2017 0:51:11 GMT
Well, I definitely had more appreciation for the show tonight than parsley did, though I'll concede that I had some of the same criticisms. It does resemble a radio-play in many ways. As parsley said, the use of sound and music is excellent - really one of the most interesting soundscapes I've ever experienced in a show. There is staging, but it's minimal, often suggesting action more than showing it. I found many of the staging moments to be quite interesting, but ultimately it all felt supplementary to the more aural storytelling. On one hand, this did cause some feeling of detachment. On the other hand, however, it worked out sort of perfectly; because it was in German, I spent more time than not reading the supertitles. In a more physical play, I might've felt like I was missing out, but since this play was so aural, I could just read and listen while remaining peripherally aware of what was happening onstage. I didn't hate the use of video, but I think they could have made better use of it.
I found the story pretty engaging, though it was a slow build, plot-wise. The actors all did a great job. For me, the 2h10m runtime (and yes, it ran 10 minutes longer than announced) went by fairly quickly. I sat in one of the £10 gallery seats, which came with a big warning that the supertitles would be obscured for the final 10 minutes. In the end, they were only minimally obscured for the last 3 or 4 minutes (at least it felt like only 3 or 4). They actually printed out an English transcript of the final few minutes and handed them out to us after the show, which was extremely considerate. So no harm done.
Definitely not my favorite piece, but I appreciated much of what they did with it. Excited to see Richard III next weekend.
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Post by Deleted on Feb 12, 2017 1:20:20 GMT
Well, I definitely had more appreciation for the show tonight than parsley did, though I'll concede that I had some of the same criticisms. It does resemble a radio-play in many ways. As parsley said, the use of sound and music is excellent - really one of the most interesting soundscapes I've ever experienced in a show. There is staging, but it's minimal, often suggesting action more than showing it. I found many of the staging moments to be quite interesting, but ultimately it all felt supplementary to the more aural storytelling. On one hand, this did cause some feeling of detachment. On the other hand, however, it worked out sort of perfectly; because it was in German, I spent more time than not reading the supertitles. In a more physical play, I might've felt like I was missing out, but since this play was so aural, I could just read and listen while remaining peripherally aware of what was happening onstage. I didn't hate the use of video, but I think they could have made better use of it. I found the story pretty engaging, though it was a slow build, plot-wise. The actors all did a great job. For me, the 2h10m runtime (and yes, it ran 10 minutes longer than announced) went by fairly quickly. I sat in one of the £10 gallery seats, which came with a big warning that the supertitles would be obscured for the final 10 minutes. In the end, they were only minimally obscured for the last 3 or 4 minutes (at least it felt like only 3 or 4). They actually printed out an English transcript of the final few minutes and handed them out to us after the show, which was extremely considerate. So no harm done. Definitely not my favorite piece, but I appreciated much of what they did with it. Excited to see Richard III next weekend. If you haven't seen an Ostermeier directed play before You are in for a treat supreme His Hamlet is the best ever Still! Why do they have to use those ugly green surtitles As bad as red The ENO have orange The ROH are the best Discrete black on white Like normal text on a page And not too bright Going back to Beware Of Pity I can't believe people didn't leave- didn't see anyone doing so When it comes to theatre people just take anything and seem to be meek and suppliant and take on a different personality It must surely be how they get away with so much rubbish on stage People don't think twice before complaining about bad service in a restaurant or in a shop I wonder people don't complain about theatre in ththe same way That's what this play made me think of I don't think I have ever seen so many surtitles in a play Sheer volume Of text You are right as I also Spent my time looking at the screens Positioned stupidly I thought Which day are you seeing R iii |
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Post by Deleted on Feb 12, 2017 10:35:15 GMT
"It's not to my taste" isn't a valid complaint.
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525 posts
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Post by wiggymess on Feb 12, 2017 11:19:48 GMT
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Post by Deleted on Feb 12, 2017 12:35:30 GMT
Looking forward to this via livestream (I learned long ago not to take any notice of negative comments or reviews, only the absence of positive ones).
In that vein, take it or leave it, but I personaly found Richard III to be the least effective Ostermeier production I have seen (in Edinburgh during the festival last year). More ideas than the dull Fiennes one but quite a few pedestrian sections.
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3,040 posts
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Post by crowblack on Feb 12, 2017 18:27:08 GMT
I watched the Livestream. I thought the staging was technically interesting but generally not emotionally engaging, even with the benefit of the livestream's close-ups (the subtitles and additional disconnect of the voices-off thing didn't help), and it often felt like I was watching an illustrated radio play. I grew to hate the plotline and main character - maybe they were less annoying in the novel (I'm not familiar with it) but there was something very teenage-histrionic about the whole thing, what with the gamey sentimentality (Mahler? Really?) and the decidedly un-pc disability gothic-body-horror and the war imagery (Banksy-level unsubtle) and frankly long before the end I was hoping WW1 would hurry up and kick off so I could go and make a cup of tea.
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Post by Jan on Feb 12, 2017 20:36:11 GMT
People don't think twice before complaining about bad service in a restaurant or in a shop No. That's just you. Most people in England would never do either - they would complain afterwards when they are back at home. I am not sure we should move to the Opera format of booing and catcalling from the audience, it is ill-mannered and unhelpful, no matter how useless theatre practitioners are - Barrie Rutter or Maureen Lipman for example, Sir David Hare, Peter Gill - they are no doubt trying their best and deserve some courtesy. |
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898 posts
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Post by bordeaux on Feb 12, 2017 21:04:13 GMT
I thought this was excellent: wonderful ensemble performances, powerful story-telling, a whole world and disappearing culture conjured up on stage using McBurney's trademarks - the actors playing several roles, the microphones, some physical theatre, great soundscape, back projections that show you the wider picture of where the story is taking place.
It is nonsense to suggest that McBurney doesn't belong on the Barbican stage with the other great companies Parsley cites. Obviously Ostermaier rates him highly enough to ask him to direct at the Schaubühne, and he's done other stuff at other prestigious venues on the continent.
The reason the audience didn't leave was probably because they were gripped by what was happening on stage.
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