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Post by zahidf on May 17, 2017 8:48:08 GMT
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Post by bordeaux on May 17, 2017 10:28:26 GMT
A few more things mentioned here: The Art of Change which 'explores how artists respond to, reflect and potentially effect change in the social and political landscape' www.barbican.org.uk/music/series.asp?ID=1750I must admit that it all sounds a little obscure to me. |
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Post by Deleted on May 17, 2017 10:50:37 GMT
All those who enjoyed the Wooster Group / RSC version of Troilus and Cressida should be delighted!! Anybody???  |
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Post by Someone in a tree on May 17, 2017 11:14:02 GMT
Not even comps forced to me to see T&C
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Post by Deleted on Nov 1, 2017 9:22:14 GMT
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2,480 posts
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Post by zahidf on Nov 1, 2017 10:57:50 GMT
That Taylor Mac show looks great
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Post by Marwood on Nov 1, 2017 11:06:01 GMT
Saw the Barry Humphries/Meow Meow Weimar Republic show at Cadogan Hall last year and rather enjoyed it, not sure if I'd want to go and see it again though. Otherwise only things of interest to me are Picnic At Hanging Rock and The Encounter, but I'll wait for more info on those before deciding whether to take the plunge.
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Post by Deleted on Nov 1, 2017 11:19:48 GMT
I'm slightly disappointed that we're only getting three hours of Taylor Mac and not the full 24 hour extravaganza. Are they testing the waters before committing to the full show, or are we only ever getting this comparatively small snippet?
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2,480 posts
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Post by zahidf on Nov 1, 2017 13:06:25 GMT
I'm slightly disappointed that we're only getting three hours of Taylor Mac and not the full 24 hour extravaganza. Are they testing the waters before committing to the full show, or are we only ever getting this comparatively small snippet? It says chapter 1, so testing the waters? Maybe they will have a new chapter every 6 months |
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Post by peelee on Nov 1, 2017 16:16:48 GMT
Attending the Wooster Group/RSC production of 'Troilus and Cressida' a few years ago at Riverside Studios, Hammersmith, two of us longed for the interval to come. I think it must be the worst thing I've ever seen; a disgrace to everyone involved in it.
The thought of a wonderful documentary like 'Town Bloody Hall' — see excerpts on YouTube — getting the theatrical treatment is questionable, but the possibility of it being staged by the Wooster Group doesn't bear thinking about.
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Post by Jan on Nov 1, 2017 18:42:04 GMT
Attending the Wooster Group/RSC production of 'Troilus and Cressida' a few years ago at Riverside Studios, Hammersmith, two of us longed for the interval to come. I think it must be the worst thing I've ever seen; a disgrace to everyone involved in it. The thought of a wonderful documentary like 'Town Bloody Hall' — see excerpts on YouTube — getting the theatrical treatment is questionable, but the possibility of it being staged by the Wooster Group doesn't bear thinking about. My name is Jan. I saw the Wooster Group/RSC Troilus & Cressida. I’m sick of Cheek by Jowl turning up at the Barbican with stuff in French or Russian or even English. They are so old fashioned and stale - not a new idea in 30 years - and a fatal lack of ambition which means they daren’t even use the main stage. I thought with the return of the RSC the Barbican might have ditched their residency but apparently not. |
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Post by tributary on Nov 1, 2017 20:21:09 GMT
Attending the Wooster Group/RSC production of 'Troilus and Cressida' a few years ago at Riverside Studios, Hammersmith, two of us longed for the interval to come. I think it must be the worst thing I've ever seen; a disgrace to everyone involved in it. The thought of a wonderful documentary like 'Town Bloody Hall' — see excerpts on YouTube — getting the theatrical treatment is questionable, but the possibility of it being staged by the Wooster Group doesn't bear thinking about. My name is Jan. I saw the Wooster Group/RSC Troilus & Cressida. I’m sick of Cheek by Jowl turning up at the Barbican with stuff in French or Russian or even English. They are so old fashioned and stale - not a new idea in 30 years - and a fatal lack of ambition which means they daren’t even use the main stage. I thought with the return of the RSC the Barbican might have ditched their residency but apparently not. I think the Barbican put CbJ and the RSC in there precisely to be dead and stale so as to provide contrast to all the European stuff. |
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Post by samuelwhiskers on Nov 2, 2017 11:28:33 GMT
Theatreboard should sell "I Survived the Wooster Group/RSC Troilus and Cressida" t-shirts.
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Post by Deleted on Nov 2, 2017 11:33:32 GMT
Gosh, no, imagine being reminded that you sat through THAT every time you open your t-shirt drawer.  |
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Post by Deleted on Nov 2, 2017 11:39:41 GMT
A timely reminder: - At the time of Troilus and Cressida, there was general agreement here that it was the RSC element of this partnership that sabotaged this production. Rupert Goold had initiated it but bailed out very late in the day, leaving the two options of aborting it, after much long preparatory work, or replacing him with an unprepared director. The latter option was chosen, in the person of the RSC Literary Associate who had barely directed previously, apart from some of his own playtexts. The Wooster Group may not be to everyone's taste but they were thwarted in this project by being put up against a soggy RSC pudding, so the intended face-off between the two divergent companies could never happen.
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Post by Deleted on Nov 2, 2017 11:48:18 GMT
This morning
I booked 8 shows at Barbican
And 5 at NT
I think the most I have ever booked in one day
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Post by David J on Nov 2, 2017 12:19:55 GMT
I too sat through that Troilus and Cressia. Second preview at the RSC. Decided to stay after the interval.
In my defence it was the first time I was seeing a production of the play and to be honest it was kind of fascinating watching that car crash. At least I got to see the highlight which was Achilles in a pumped up muscle suit being brought on playing a guitar
Poor old Scott Handy was giving a first-rate performance as Ulysses. Then he had to play the woman who launched a thousand ships, Helen.
At least I've got to watch recording of the Maori version from the Globe to Globe season since then. A better production played by actual indigenous people, even though the recording included no subtitles.
Perhaps we should hold a group therapy session.
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Post by jadnoop on Nov 2, 2017 12:51:04 GMT
I know it's out of the remit/interest of the board, but only the return of Ballet Black really excites me from the latest announcement. Hoping for Kings of War or another Ninagawa later in the year or early 2019 though.
Out of interest, does anyone know when the RSC live dates are usually announced? I get the value in the cinema relays, but don't really see the appeal of paying £20 to see the RSC in the small Barbican screen when you can see it on stage for the same price (or usually less) a few metres away.
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Post by Jan on Nov 2, 2017 13:44:18 GMT
A timely reminder: - At the time of Troilus and Cressida, there was general agreement here that it was the RSC element of this partnership that sabotaged this production. Rupert Goold had initiated it but bailed out very late in the day, leaving the two options of aborting it, after much long preparatory work, or replacing him with an unprepared director. The latter option was chosen, in the person of the RSC Literary Associate who had barely directed previously, apart from some of his own playtexts. The Wooster Group may not be to everyone's taste but they were thwarted in this project by being put up against a soggy RSC pudding, so the intended face-off between the two divergent companies could never happen. The RSC part was worse acted and directed but the Wooster Group bit was more racist. You takes your pick |
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Post by oxfordsimon on Nov 2, 2017 13:55:37 GMT
The only decent acting in that whole T&C mess came from the RSC side - Scott Handy did great work (until he went over to be part of the other side for one scene)
The Wooster Group are the ones who made a real mess of Shakespeare. Nothing the RSC side could have done would have outweighed the ridiculous decisions made by TWG - with their video totem poles, ludicrous physicality and refusal to acknowledge that the text had any virtue.
T&C is a complicated enough play as it is without taking the position that text doesn't really matter.
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Post by Deleted on Nov 3, 2017 3:12:51 GMT
^Disagree with all the above.
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Post by Deleted on Jan 12, 2018 21:21:39 GMT
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Post by Deleted on Apr 3, 2018 17:17:04 GMT
I'm intrigued that the Barbican and Oxford Playhouse websites quote the New York Times as saying "a raging force of energy" on the production page for Pericles. So I had a look for the New York Times review of this - there is one, but it contains phrases like "strangely unimaginative", "hackneyed" and "over-the-top acting" but not the phrase "a raging force of energy" which is actually from a review of Ubu Roi ("it's impossible not to be transfixed by the raging force of it's energy") |
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