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Post by Deleted on Feb 12, 2017 21:12:33 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. Apart from me And the woman next to me texting for most of the show And the man next to me who was asleep As was his wife and friend And the woman and man in front of me who were reading a magazine when the lighting was bright enough |
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Post by Deleted on Feb 12, 2017 21:14:24 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. People are quick enough to bitch and complain rudely in A&E though Yet where they are paying directly for services in a direct transaction they keep they mouths shut Good case for charging for healthcare? |
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Post by Jan on Feb 12, 2017 21:53:50 GMT
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. People are quick enough to bitch and complain rudely in A&E though Yet where they are paying directly for services in a direct transaction they keep they mouths shut Good case for charging for healthcare? I wouldn't complain about service in a restaurant because they'd spit in my food (or worse). I wouldn't complain in A&E for a similar reason. |
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Post by jek on Feb 12, 2017 22:10:51 GMT
Went to this at the Barbican this afternoon. The decision to purchase tickets was prompted by having really rated The Forbidden Zone. I was, however, a bit wary of this outing because I am scarred by the experience of the Complicite Master and The Margarita in the same venue. But then again I really enjoyed A Disappearing Number. So I went to this with a mixture of expectations/ apprehensions. I found it to be much less involving than The Forbidden Zone but I didn't hate it. One of the real problems with it was it was just too wordy for something where the majority of the audience were dependent on subtitles. Despite being well practiced in reading Scandi crime subtitles I found I just couldn't keep up at some points. And while nearly three hours of the German Toni Erdmann flew by in the cinema, two hours and ten minutes in the Barbican theatre today felt pretty long. Glad I saw it but wouldn't be rushing to recommend it.
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Post by Deleted on Feb 12, 2017 22:18:26 GMT
Went to this at the Barbican this afternoon. The decision to purchase tickets was prompted by having really rated The Forbidden Zone. I was, however, a bit wary of this outing because I am scarred by the experience of the Complicite Master and The Margarita in the same venue. But then again I really enjoyed A Disappearing Number. So I went to this with a mixture of expectations/ apprehensions. I found it to be much less involving than The Forbidden Zone but I didn't hate it. One of the real problems with it was it was just too wordy for something where the majority of the audience were dependent on subtitles. Despite being well practiced in reading Scandi crime subtitles I found I just couldn't keep up at some points. And while nearly three hours of the German Toni Erdmann flew by in the cinema, two hours and ten minutes in the Barbican theatre today felt pretty long. Glad I saw it but wouldn't be rushing to recommend it. At the end of The Forbidden Zone I clapped so hard I almost broke my hands Red raw they were Makes me glow still thinking about it now |
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Post by Deleted on Feb 12, 2017 22:50:45 GMT
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Post by Deleted on Feb 12, 2017 23:06:56 GMT
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Post by bordeaux on Feb 12, 2017 23:13:49 GMT
Parsley, why did you 'trick' family members into coming to a play by a director you think is rubbish? What do you have against them?
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Post by Deleted on Feb 12, 2017 23:21:41 GMT
Parsley, why did you 'trick' family members into coming to a play by a director you think is rubbish? What do you have against them? Thought the Schaubuhne rep was indestructible |
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Post by crowblack on Feb 10, 2019 13:52:56 GMT
Interesting piece on the portrayal of disability on this in today's Guardian/Observer: "I don't think I've ever been so hurt by a piece of art" (sorry, I don't know how to do links on here!)
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Post by Deleted on Feb 10, 2019 15:10:50 GMT
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Post by crowblack on Feb 10, 2019 15:52:34 GMT
Thanks! I watched it on the Barbican livestream and hated it, and I have loved their work in the past. |
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