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Post by theatre-turtle on Oct 13, 2017 22:23:29 GMT
Just got back from this. What a mess. It seemed like it was being pulled in all directions, with no logic at all. The characters were wildly inconsistent and the plot was totally incoherent.
It's a shame because the central performance by Victoria Hamilton was outstanding, and there were some very good moments. All in all, if completely re-written it's possible something could be salvaged.
Expecting the critics to tear this apart.
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Post by Deleted on Oct 13, 2017 23:01:01 GMT
Just got back from this. What a mess. It seemed like it was being pulled in all directions, with no logic at all. The characters were wildly inconsistent and the plot was totally incoherent. It's a shame because the central performance by Victoria Hamilton was outstanding, and there were some very good moments. All in all, if completely re-written it's possible something could be salvaged. Expecting the critics to tear this apart. If it’s as sh*t As doctor foster series 2 It’s going to be bad |
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Post by foxa on Oct 13, 2017 23:35:04 GMT
I liked it. Very Chekhov: matriarch, house in the country, money, retainers (or modern equivalent), family, change.... Very well cast. Luke Thallon was excellent, as were Victoria Hamilton, Vinette Robinson and Margot Leicester (who managed to make me laugh just with the reluctant way she said 'hello' at one point.) It's a bit baggy in places but after some of the recent duds I've seen, this was a pleasant surprise.
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Post by showgirl on Oct 14, 2017 3:24:25 GMT
I saw an enthusiastic blog review from someone who said she'd booked to see it again and take her family. So a marmite play? I was quite hopeful when I read the review, having only risked a £10 seat.
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Post by argon on Oct 14, 2017 6:57:22 GMT
I liked it. Very Chekhov: A was thinking along the same lines but had in my head Turgenev's - A month in the country. I thought the son's girlfriend story line was stretching it considering the time they had been together. However, Victoria Hamilton was excellent and provided much amusement. Probably, some of the peripheral characters were over developed making it seemed less focused at times. |
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Post by lynette on Oct 14, 2017 13:55:20 GMT
Wasn't Victoria Hamilton in A Month in the Country? And she was very good. I remember her twiddling her ankle....maybe that made the connection for you.
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Post by mikey on Oct 14, 2017 21:21:57 GMT
Saw this on Friday. Really enjoyed the first half, but the second felt very baggy. I wish it had just stuck more firmly on Victoria Hamilton's character and delved more deeply into her obsession with the Red Garden and what that represented. A lot of the subplots felt unnecessary and I don't think gelled. I also agree that the character of the son's girlfriend was pretty unbelievable.
That being said, the cast are good - in particular, Hamilton. I absolutely loved the set. It was overall an enjoyable evening. Just a shame that I know it could have turned into a great one had the script had some decent pruning.
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Post by nash16 on Oct 14, 2017 22:07:17 GMT
Wow. It's going to be a hit. And I'm already wishing it had a longer run.
Bartlett having a very obvious go at writing a Chekovian/Ayckbourn piece. For the most part it is very successful. And great fun to tick off who is playing the Konstantin, who the Masha, who the Arkadina, who the Firs, etc, etc. References to all C's big plays. Mainly The Seagull and Cherry Orchard.
Mikey is right: the second half cannot live up to the first half. It's not bad, it's just less active, and more two acts of resolutions. Act 4 is very much the last act of Cherry Orchard and Seagull.
There are some very funny lines and moments in it. And also some painfully moving moments too. The politics of Brexit and what England has become/is becoming aren't too forced, although there are some lines that clang about a bit and are a bit too obvious. The Polish maid is good, but again, a bit obvious.
I felt for nearly all of the characters. And he's given the actors such great parts, all off them.
Victoria Hamilton goes to town on her role and is equally hilarious and repugnant all at the same time at moments. But you always understand why. Helen Schlesinger is doing a wonderful Fiona Shaw impression with her body. The young actors are good (the daughter is a bit more "actory" than everyone else, but still fits the part).
The set is simple and they've stolen the tree from Jerusalem, obviously required now for any take on "England" in a play. It doesn't shake at the end though.
Anyone into potted plants, you're in for a treat come one of the scene changes. I found that moment quite moving actually as well as being uplifting.
It plays whole heartedly to it's Almeida audience as it's about a middle/upper class family. I think one of the cast is mixed race, the rest are all very white.
I already want to go back and see it again.
If anything to hear, as Foxa mentioned, Margot Leicester say "Hello" in the second half. So brilliant.
Book before Press next week, or you'll regret it.
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Post by showgirl on Oct 14, 2017 22:13:12 GMT
Could anyone who has seen this please comment on the changed seating configuration? Obviously it's on the website but I've never seen this layout before; in fact, I've never seen anything other than the standard seating at the Almeida, so it's hard to imagine the reason for the elongated format for this production, or how it might work in practice.
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Post by nash16 on Oct 14, 2017 22:23:26 GMT
Could anyone who has seen this please comment on the changed seating configuration? Obviously it's on the website but I've never seen this layout before; in fact, I've never seen anything other than the standard seating at the Almeida, so it's hard to imagine the reason for the elongated format for this production, or how it might work in practice. Hi showgirl, The layout is traverse, so a thrust stage, as shown on the website. The stage is more like the Swan at the RSC if you've ever been up there. The front two/three rows that run alongside it, you're looking up at the stage. There are one or two raised rows behind that. The main stalls is a lot smaller as a result. I'd say some of the best views, if not THE best views, are in these rows that run alongside the stage. Everyone keeps moving for the most part, so you're never blocked, and it's great being so close. Mind you we were looking up at the Circle, especially the £10 "restricted view" slip seats, and thinking they'd be an absolute steal. Have you got your tickets yet? |
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Post by martin1965 on Oct 14, 2017 23:40:28 GMT
Booked a while ago, going on 18 Nov. Dounds v promising😊
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Post by showgirl on Oct 15, 2017 4:53:13 GMT
Thank you, nash16. I do know the Swan and booked one of the £10 RV seats but in the stalls, and at the far end of one of the very long rows added/inserted for this play only. So I won't be far back from the stage as the rows are only 2 or 3 deep at that point, but I will still, in effect, be in one of the furthest corners. (Should've thought of that in case I needed to make a quick and discreet exit but from posts above, I probably won't wish to.) |
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Post by popcultureboy on Oct 15, 2017 7:42:07 GMT
Act 4 is very much the last act of Cherry Orchard and Seagull. So the maid buys the garden and then Victoria Hamilton shoots herself? |
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Post by Deleted on Oct 15, 2017 9:58:31 GMT
Yesterday turned out to be Chekhov day even though I only saw one actual Chekhov, such days are always ones that I appreciate and this one turned out to be excellent. Another influence to add to the mix is Rattigan, although not name checked as a number of other British writers are (themes of writing abound, as well as that of gardens and the earth). Duty, generational schisms, dealing with the age old difficulty of being English, that sort of thing.
Excellent acting throughout, gorgeous set (I love a good stage tree) with scene changes beautifully delineating the Chekhovian four act structure, Bartlett cleverly underscoring the local with the national, the balance of arguments on differing sides, all make this a thoroughly satisfying and, at times, transcendent watch. Previews so no real spoilers and the second half isn't yet fully lived in but it's looking good already.
First act over an hour and a half, second act over an hour, so out after ten thirty.
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Post by bluetoothpick on Oct 15, 2017 20:00:27 GMT
Saw this last night.
Act 1 is superb already and, by the time they get out of previews, I've no doubt that act 2 will be also.
It's funny, it's moving, it's shocking and all in all, it's very Chekhovian.
There's no new ground being broken in the topics covered and the format but it's bang up to date and thoroughly compelling.
Victoria Hamilton is sensational and her performance (along with a scene at the end of the first act) are worth the ticket price alone.
I believe the critics are going to love it, prediction 4 to 5 stars, and you should book a seat sooner rather than later!
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Post by nash16 on Oct 15, 2017 21:17:11 GMT
Act 4 is very much the last act of Cherry Orchard and Seagull. So the maid buys the garden and then Victoria Hamilton shoots herself? Almost!! Haha!! It's a great game if you love your Chekhov to work out who is who in it. |
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Post by raiseitup on Oct 18, 2017 10:09:05 GMT
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Post by bordeaux on Oct 18, 2017 10:17:11 GMT
I'd love this to transfer. Perhaps not starry enough, though?
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Post by dani on Oct 18, 2017 10:54:59 GMT
I'd love this to transfer. Perhaps not starry enough, though? I'd say definitely not starry enough. It's three hours long, and the thrust staging is very important. Remaking the production to suit a pros arch venue wouldn't do it any favours. |
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Post by Rory on Oct 18, 2017 11:34:17 GMT
I'd love this to transfer. Perhaps not starry enough, though? Perhaps not, but the combined brand of the Almeida / Goold / Bartlett, plus strong reviews, would likely ensure an audience if any staging obstacles can be overcome. If Sonia Friedman can take a punt on transferring something like The Nether, she might be favourably disposed to this, especially given that she's transferred other Gooldean shows like King Charles III and Ink. |
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Post by n1david on Oct 18, 2017 12:21:42 GMT
Tip from Rupert Goold on Twitter - maybe the 3-hour show length is putting off potential standees!
rupertgoold: #Albion tip - the standing seats are actually the best view. £10 bargain.
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Post by Rory on Oct 18, 2017 14:13:38 GMT
I'd love this to transfer. Perhaps not starry enough, though? Perhaps not, but the combined brand of the Almeida / Goold / Bartlett, plus strong reviews, would likely ensure an audience if any staging obstacles can be overcome. If Sonia Friedman can take a punt on transferring something like The Nether, she might be favourably disposed to this, especially given that she's transferred other Gooldean shows like King Charles III and Ink. Having read these reviews, I'd be amazed if this now doesn't transfer. Dominic Cavendish calls it "The play Britain needs right now". Say no more. |
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Post by Deleted on Oct 18, 2017 14:22:58 GMT
Tip for Rupert Goold not on Twitter
ryan: #Albion tip - don't put on a 3 hour show and expect me to stand up for the privilege, no matter how cheap the seats are.
The cheek of it.
And cut your hair.
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Post by Deleted on Oct 18, 2017 17:06:05 GMT
5* Independent
5* Telegraph
I think a transfer’s very likely.
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Post by Rory on Oct 18, 2017 17:39:35 GMT
Next available theatres are the Gielgud (if The Ferryman doesn't extend again) or the Ambassadors - now wouldn't this be a lovely antidote to 15 years of bashing bins?!
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